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IN BETWEEN, 2014

SCULPTURE INSTALLATION, STAINLESS STEEL AND VINYL, VARIABLE MEASURES

It began to take shape in a trip of a couple of months to Chile at the end of 2013. During my long walks through Santiago de Chile, led by the architect Benjamin Braithwaite, we had many conversations about the changes that the city has undergone in its architectural profile. Chile is one of the countries with the highest seismic activity, hence the horizontal development of the buildings that gave it its peculiar appearance of a reinforced, massive and dwarf city with architects such as Dávila or Secchi, defenders of a traditional architecture. Emilio Duhart, a disciple of Gropius and Le Corbusier, initiated the first transformations to a modern city, with accelerated vertical construction, which, in my opinion, wisely combines geometric volumes and lighting effects. The seduction of those towers clad in steel and glass, especially in the part of Sanhattan (acronym for Santiago and Manhattan) which is the financial district of the city, generate illusory effects on their surroundings and produce a kind of moving geometry. ; All this proposal between volumes and light, drew a map of different plastic landscapes that prompted me to play a game of volumes, with new materials and somehow indicated the starting point.

In this exhibition I show a series of objects in polished stainless steel with a mirror patina, framed within a minimalist aesthetic of form, color and texture. The sculptures / objects, with reflective surfaces, show a concern for volume and surface, and establish an intense dialogue with space and light, intimately relating to their surroundings. They challenge our perception with illusory effects, intermingling of planes, changing perspectives and colors that create and recreate a relationship that facilitates a visual and mental engagement with objects. Each piece is visually transformed and mimicked. They do it in such a way that they are sometimes absorbed, dilated, or mutated as we move through space, strengthening the relationship between object and subject and inviting us to participate in new sensory expectations. The same goes for color. What we really see is not the color itself, but a reflection of the color on the surface of the object, which emerges or fades in different gradations and intensities. The intention was to give it a certain dynamism, color as a liberated, expanding color. Sometimes the spectator's face must be added to this diffusion of color, which has been present as an integral element from the beginning until the visual closure of each work, and in this way they symbolically explore aspects such as presence and absence.

 

IN BETWEEN, 2014

Artwork Photographs: Francisca Braithwaite

ONE HUNDRED PAGES

ARTIST BOOK- UNIQUE 

STAINLESS STEEL COVER-100 PAGES - 35 X 25 cm

In all my exhibitions I usually show an artist book, as a means of support for experimentation on which I narrate the process of my work.  It is a graphic appendix in which I write down my reflections on color, geometry, a kind of logbook. In this occasion I presented an artist book, unique and well-handled, where all the notes, notes, diagrams, sketches and ideas were found alternated with drawings, plans, photographs and references, and they did nothing but bare the ups and downs of the moods that the creative process contains and that at the same time serve as a guide for the viewer.

IN BETWEEN,

BOOK PUBLICATION

DEPARTAMENT OF CULTURE MÁLAGA COUNCIL

INSTITUTE OF THE BOOK, IML, MÁLAGA, 2015

70 PAGES, TEXTS ENGLISH / SPANISH

DEP.LEG: MA-2017-2014

 © danielsolomons, 2020

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