pazYcomedias

gallery

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pazYcomedias
Pl.Colegio del Patriarca, 5.
bajo-dcha.
46002 Valencia
Telf. (+34) 96 391 89 06

Open Monday to Saturday afternoon
11 to 14h. and 19.30 to 21 h.
Closed monday morning.

Quasi-infinity

Ana Esteve Llorens

17 may 2013 > 21 june 2013

"...Each action is a compression and replication of the past"
George Kubler


In mathematics, a category is a structure consisting of objects and the associative and identity relations established between them through symbols. A quasi-category is a higher order generalization that includes categories with similar characteristics. Quasi-infinity describes a state where infinity, or the finite properties of a specific continuum, can not be fully defined in a logical way.

This project is a proposal to study and enclose by means of sculpture the concept of time, and its course, as well as the assimilation of space, by analyzing secondary structures used to ship and to protect objects.
The pieces are the result of the intersection of two scales: one scale coming from the enlargement of these objects, and the other scale from the reduction of chosen elements belonging to architectural structures. The plane as the main component in the compositions describes the constructive logic of the sculptures.
The analysis, deconstruction, reconfiguration, and adaptation of these elements provides ways to reflect on the sculptural syntax, and on the shapes of time, as well as ruminate on such concepts as actuality, duration, change, and adaptation.

The process itself becomes a fundamental tool during the fabrication of the pieces, and a methodological system to study the processes of invention, variation, replication, elimination, and retention. The use of industrial materials (plywood, MDF, veneer, plexiglas) and its meticulous treatment in the studio of the artist, offer two levels of perspective to the pieces: the first is peripheral, in which the viewer can see the "landscape" in the exhibition space, and the other is one of proximity, in which the viewer perceives, intermittently, the presence and nearness of my hand.

The result is hopefully a new category of objects that share an analytic-geometric vocabulary, bound and informed by an exploration, from a phenomenological point of view, of the space-time relation, generated dichotomies like the familiar and the uncanny, the worldly and the cosmological, the stable and the dynamic, and the contrasting creative approaches of reduction and expression.