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The artist builds up his paintings with repetitive patterns and translucent interiors. Masking figures into place one after the other forming a dance-like ritual. The environments contrast in their un-repetitve nature with the carbon copy of the figures. Mental games, collages and animal factories they all play their part in an absurd tale that very well could mirror the mass production of the commodity, the cloning of animals and the culture of the same.

Drawing has always been more than a pleasure to me. It is more a result of a necessity. Through drawing I have an approach to forms, I am able to observe them more closely and at the same time to think their relationship with the space surrounding them.

This relationship with space was rapidly questioned and modified to suit a reflection about our actual urban surroundings and my feelings about modern times, especially the consumistic commodity, the unlimited repetition of production, the supermarkets with stocks of different products of the same, the influence of publicity and its infinite seriality of the image. Repetition then, has come now to a normal standard, with no room to awe of workmanship, no uniqueness, just a straight line heading to homogeneity.

Where does that leave the body, how are we influenced in a repetitive pattern-like space; one that maybe doesn’t have a focal point of importance but many of the same value. How do we move in a serial space composed not on traditional perspective but in a system of super imposed layers, some of them abstract, organic, surreal, dense.

In my body of work this is reflected by the use of flat or homogeneous space that works more like a layer. This layer is usually semi obliterated by another one, this one translucid by the use of wax, resin or semi-opaque papers or colors. Layer after layer coordinate to build these separated but related surfaces. Creating a language of multiple levels of appreciation.

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project description

I am interested in pointing out the pervasiveness of scaffolding for maintaining buildings, they are so common now that we don’t pay attention to them anymore, one day the scaffolds appear and cover the whole building, it is like a magic act, where the building itself disappears behind this huge curtain, and re-emerges renewed, fresh. I am interested in thinking a city as a reflection of a living organism that in order to survive works in symbiosis with smaller organisms.

A changing city means that it is bustling with life. These structures, the scaffolds, are for me spontaneous installations that mark and shape the city for a limited period of time and then disappear without a trace, these pictures are the only proof that they were once there. To find out how they really looked like I wanted to isolate them from their surroundings, erasing everything that was not part of the scaffolding, including the small parts where the actual building was coming through. The result is a strange structure that in reality wouldn’t be able to stand by itself and that looks highly unstable like a temporary band aid or a sore.

These photos were assembled together from smaller photos to form the final piece, they are not perfect and don’t match entirely with each other, they are also momentarily solutions.

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sept 2010. By Merete Hertz -Galerie PI owner/ Exhibition at Galerie PI
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Når to unge talenter fra meget forskellige kontinenter mødes, kan det kun blive interessant at se hvordan deres forskelligartede udtryksformer og referencerammer mødes og opbygger et helt nyt univers. Adrian R Perdomo har, på trods af sine kun 37 år, foruden Mexico, allerede været indenom Canada, USA og Sverige før han nåede til Danmark, hvor hans episke og farvestærke malerier lover godt på den danske kunstscene. Pernille Moesgaard er færdig på Kunstakademiet 2011, og lægger ikke fingrene imellem når hun blander det smukke, det gådefulde og det kvalme i en serie udfordrende skulpturer.

Førstehåndsindtrykket er funklende, friske farver og et stærkt grafisk indtryk af både malerier og skulpturer. Mønstre er for begge kunstnere et tilbagevendende element, ligesom de begge arbejder med udgangspunkt i udefinerede sammenhænge mellem ting. Men hvor Adrian R Perdomos malerier, tegninger og fotos antager en gennemgående episk form, arbejder Pernille Moesgaard med det stik modsatte; ikke-fortællingen.

Pernille Moesgaards skulpturer bevæger sig på symbolplanet, hvor brudstykkerne af noget genkendeligt er ment som grundlag for en fri associationsproces, bestemt af beskueren. De er skabt ud fra oplevede øjeblikke; ting, der har noget til fælles uden at have en åbenlys sammenhæng. Værkerne er, med kunstnerens egne ord, lidt som små koder eller regnestykker, hvis gådefuldhed rummer en rest af betydning, som fjerner sig langsomt jo tættere på man kommer. Virkningen er ganske forførende, og det er netop pointen. For at opnå den fulde virkning kombineres det smukke og gådefulde med noget let frastødende eller kvalmt, der udfordrer på både det meningsdannende og det æstetiske plan.

Adrian R Perdomos værker bevæger sig på lignende vis mellem det genkendelige og det abstrakte, men hans fortællinger rummer klare referencer til det levede liv. Genkendelige figurer færdes i det, der ligner simultane verdener i maleriets mange transparente lag, og virkningen fører tankerne hen på de sammenhænge, der ligger i verdens kosmos og kaos. Værkerne knytter alvorlige kommentarer til menneskers og dyrs levevilkår i den moderne verden og de dilemmaer vi står overfor med hensyn til masseproduktion og genmanipulation. Billedsproget er samtidig klart og farverigt, og derved opnår Perdomo en vældig energi og positivitet, der sætter alverdens kontraster i spil.