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Pleonasm: The Reiteration of Ideas and Forms

  • Location:
    Building Bridges Art Foundation, 2525 Michingan Ave, Unit F2, Santa Monica , California, 90404, US

La Universidad Autónoma de Baja California (UABC)
Building Bridges Art Foundation
are honored to present:
“Pleonasm: The Reiteration of Ideas and Forms”
A compelling exhibition featuring four unique visual artists from Mexico
Opening Reception: July 19th, 6pm
July 19, 2014 – August 20, 2014
Bergamot Station Art Center, Suite F2 in Santa Monica, CA
Curated by Jaime Delfin Villafuerte
These four proposals, with perspectives ranging from experimental, artisanal, and philosophical issues,
seem to differ from each other greatly. However, if carefully examined, we find that at the core of this
sample of work lies the work of the metaphysical, the magical, and the artistic. The aforementioned then
becomes evident, for it is process art (the search for concepts in this world where ideas appear to be a dark
hole) that brings these artists together.
The formulation of a logical language in an era of growth and artistic maturity puts judgment on the line
for much of the work that could potentially result from it. However, in these four young artists lies evidence
that all is moving in the right direction.
On one hand, Paulo Jacobo, finds himself on a quest to represent the ethereal, the ephemeral, within the world in which we move, stating that we are, like universal
matter, continuously unfolding within ourselves. The body is composed not only of
what it is physically made out of, but also of the interaction between its physical
buildup and the things that surround it. Using the fume technique, Jacobo elaborates
on representations of his own body by pressing it against the smoked surface. As a
result, imprints of the body itself are transferred onto paper, creating drawings of the
same constant and fleeting nature that we as humans experience in this life.
Roberto Razo, on the other hand, fills his pieces with moments of controlled
experimentation, bringing to light the atavistic nature and unconscious
abstractions that are vital to the making of process art. In this manner, Razo opens
the door to countless possibilities within the realm of experimental design.
Meanwhile, Rulo Reyes discusses the deconstruction and reconstruction of form by
removing objects used for cultivation from their common function. By doing so,
Reyes creates codes that talk to us about work on the field as well as the making of
the dress or hupil, traditional to the Triquis culture (native to San Martin Itunyoso,
Oaxaca). Through his art Reyes highlights the features that characterize a specific
legacy where traditions are part of the essence of human life.

Underwater Landscape: A body of work by Karen Perry
The complexity of forms and colors that create the seabed, as
well as the strange beauty its inhabitants possess, are the
creative fuel in this series of work. The colonies of anemones,
the coral reefs, the kelp forests, and even the hair-raising jelly
fish, all form part of the reconfigured repertoire that is
appreciated in this body of work. Many phenomena and
lighting effects occur beneath oceanic waters. One example is how the color red becomes almost invisible
in the depths of the sea; perhaps that is why it is the most undetected of all the camouflage colors for
those creatures that live in the abyss. The puzzle pieces represent that very variety of color and form. These
small pieces of cardboard correspond to each other in an order specific to the image they create and they
offer a large amount of variation and possibility. As the constructive medium, the puzzle pieces create
forms that transition between the second and third dimensions, giving what was once a puzzle, a whole
new meaning. Simulated landscapes, symmetrical forms, volumes and cavities are my own aesthetic
exploration, which reference the strange beauties that live in the depths of the sea.