peana.co
Jun. 11 — Feb. 14 / 2020
Vía Clodia 169, Fuentes del Valle, 66224 Monterrey, N.L.
Vía Clodia 169, Fuentes del Valle, 66224 Monterrey, N.L.
ASMA. Half blood princess, 2019.
Parafina micro blanca, pintura encáustica.
(40 x 53 x 5 cm)
Parafina micro blanca, pintura encáustica.
(40 x 53 x 5 cm)
ASMA. Soft wax night, 2019.
Parafina micro blanca, pintura encáustica.
(40 x 53 x 5 cm)
Parafina micro blanca, pintura encáustica.
(40 x 53 x 5 cm)
ASMA. Verdad indiscutible, 2019.
Resina epóxica, alambre de cobre, estaño.
Resina epóxica, alambre de cobre, estaño.
ASMA. La gran esfinge morada, 2019.
Parafina micro blanca, pintura encáustica, mdf.
(26.5 x 37 x 4 cm)
Parafina micro blanca, pintura encáustica, mdf.
(26.5 x 37 x 4 cm)
ASMA. ‘Celosía’ En un jardín salvaje, hay gente entera, 2019.
MDF, madera, cemento, resinas poliméricas, material hidrófugo y fibra de vidrio.
(183 x 207 x 10 cm)
MDF, madera, cemento, resinas poliméricas, material hidrófugo y fibra de vidrio.
(183 x 207 x 10 cm)
ASMA, ’Celosía’ Cisne de dos cabezas, 2019.
MDF, madera, cemento, resinas poliméricas, material hidrófugo y fibra de vidrio.
(183 x 204 x 10 cm)
MDF, madera, cemento, resinas poliméricas, material hidrófugo y fibra de vidrio.
(183 x 204 x 10 cm)
ASMA. Shape shifter, 2019.
Óleo sobre plancha de cobre, alambre de cobre, estaño.
(38 x 48 cm)
Óleo sobre plancha de cobre, alambre de cobre, estaño.
(38 x 48 cm)
ASMA. Pienso en el animal que soy, soy el animal que soy, muero como un robot, 2019.
Óleo sobre plancha de cobre, alambre de cobre, estaño.
(38 x 48 cm)
Óleo sobre plancha de cobre, alambre de cobre, estaño.
(38 x 48 cm)
ASMA. Baño de plata, 2019.
Óleo sobre plancha de cobre, alambre de cobre, estaño.
(38 x 48 cm)
Óleo sobre plancha de cobre, alambre de cobre, estaño.
(38 x 48 cm)
The exhibition echoes a mythological open narrative of an encounter at the shore of a lagoon. Some fragments of this narrative suggest a hybrid being, a recognition of otherness and an embrace of different bodies: two facing characters that become everything and change over and over into the landscape. This speculative fiction takes place in a possible ancient past or a far away future where technologies have become organic.
Half Blood Princess features a series of sculptures, paintings, and installation elements that sets the stage at a place in between exterior and interior. Through the use of two large lattice that dictate the flow of entry to the show and the pace of the story, the context of the experience becomes about looking and being seen. The exhibition is comprised mainly of works that live between painting and sculpture, putting in evidence its formal propensity for fading limits and merging opposites. This new body of work constitutes a closer approach to figuration in direct contrast with mechanical line abstractions.
As part of their collaborative practice which enables the coexistence of differences and the process of interrelation, the works go through a series of material processes of alteration and modification that resist the casting processes and puts into play interrelations of materials. As a metaphorical figurative element, the liquid in the lagoon repeats through the exhibition suggesting a moment of submersion, and a possible process of becoming.
Half Blood Princess features a series of sculptures, paintings, and installation elements that sets the stage at a place in between exterior and interior. Through the use of two large lattice that dictate the flow of entry to the show and the pace of the story, the context of the experience becomes about looking and being seen. The exhibition is comprised mainly of works that live between painting and sculpture, putting in evidence its formal propensity for fading limits and merging opposites. This new body of work constitutes a closer approach to figuration in direct contrast with mechanical line abstractions.
As part of their collaborative practice which enables the coexistence of differences and the process of interrelation, the works go through a series of material processes of alteration and modification that resist the casting processes and puts into play interrelations of materials. As a metaphorical figurative element, the liquid in the lagoon repeats through the exhibition suggesting a moment of submersion, and a possible process of becoming.
Download Press Release