ARTISTS
Stone, leaf, grass, branches, wood, metal, cement, marble or sand. The environment, the open space and the landscape become ideal materials and supports for the artist.
Stone, leaf, grass, branches, wood, metal, cement, marble or sand. The environment, the open space and the landscape become ideal materials and supports for the artist.
In an increasingly specialized and mediatized world, I find in the manual laboriousness of certain trades, alternatives that by exercising them develop and amplify bonds. It is a way of resisting the rigid processes of mercantilization. It is not a question of new forms of economy or anti-capitalist organizations but of redeeming the potentiality that still lies, hidden, in certain things that seem dead or obsolete.
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My work talks about our fauna in danger of extinction, the use of toxic agro-chemicals, the deforestation of hills and animal mistreatment. I am very involved with environmental issues and what is related to the species that cohabit our territory.
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I have always been interested in the living beings, so much so that I took a doctorate in biology without ever ceasing to express myself artistically. With the use of metallic fabrics, biological and sculptural concepts converged to think and feel that they are, precisely, in the multiple forms of the living where the human condition is also developed and realized. The metal fabrics refer to biological tissues, the skin, the interface between the self and the other, between interior and exterior. But transparency, the fusion of bodies or the inclusion of an animal within another, breaks the idea of individuality and suggests another type of unity: systems. The separation between one and the other is not absolute, the limits are permeable, the boundaries are intertwined, bodies and territories are mixed, identities are intertwined and different worlds that interact coexist, an interior and an exterior whose boundaries are crossed.
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The artistic work reflects visually on the cultural pertinence of the scientific and plastic operations. Art and science are put in relation to visualize, to register and to model the nature of the other, with whom we inhabit.
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I was born in 1961 in the city of Buenos Aires, Argentina. I share my dedication to art between production, research and teaching. Since I was very young I was in contact with an area (very close to the city) conformed by rivers and small islands. I spent my weekends enjoying that place and linking with nature.
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His work involves offerings and conversations with nature. His sculptures in granite and marble reflect an intimate state of parity between the artist and his object that shines through and reaches the result in a way that is as remarkable as it is imperceptible. The materiality of his work does not respond to its final effect, being in front of them is a bridge experience between power and smoothness. Marble, granite, even cast metal give a portion of their strength to the sensory possibilities of sight and touch.
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Bellatrix is a place to connect intimately with oneself. It is the site that will house "The Forest" that I went through in the most introspective moment of my life. Where space inspires us to linger and heal wounds.
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My initial contact with each of the places is walking, as a way of linking water and land with the horizon. I enter, in turn, underground territories that I cannot see, but whose existence I can verify in various ways, "see" the earth and water with my intuition and perceive them, since they are bodies that emit magnetism or radiation. I listen to the material and its resonances.
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Different reviews can be summarized in the following statement about his work:
The gesture in space as an epic of the sculpture is the center of his production. His work is an invocation of the possibility of the representation of the forces in space.
The artist constructs and creates iron sculptures with the forcefulness of an ancestral material that refers us to fire and to the atavistic elements.
The alchemy of the metal and its union with the landscape of nature creates a mystical alliance of introspection and contemplation.
This project is a site-specific installation, it proposes an encounter through a dislocation, a displacement from the realm of nature to the field of art. The beauty of a sunset is conducive to gathering and meditation, being expressed every day in a unique, unrepeatable and ephemeral way. Humanity shares its light, it is the energy of life. It could be a manifestation of the pure present, a metaphor for the impermanence that pervades all the phenomena of life. The chromatism of the work is the
concept that reverberates and updates the colours of the pampean sunset.
Carola Zech lives and works in Buenos Aires. She has a degree in Visual Arts from the Universidad Nacional de las Artes. Her work takes the form of installations and sculptural projects.