Deceptor Studio Aldo Chaparro + FIFI Projects

Mexico City Febrero-Marzo 2014

Ensō
2008

Ensō se basa en el acto de unir extremos para transformar su forma en un círculo. De igual manera que las líneas en el ensō, la transformación hace que las lineas se encuentren y se una consigo misma de manera perpetua. Al sustraerle todo principio y fin, únicamente queda presente su ser. El proceso de crear abre paso al autoconocimiento, lo cual es precisamente aquello que el ensō representa; las líneas llegan mas allá de la forma para poder capturar momentos.

Human Disco Ball
2000
Video
0:50 minutos

Construcción 1
2000
Video
00:55 minutos 

Andador 20 
1999
Video
1:27 minutos

Estudio
1997-1999
Video
2:30 minutos

FLYING OBJECTS (OBJETOS VOLADORES) 
1999
Video
0:34 minutos
This video is a collaboration with Alejandro Rosso, in those years Alejandro and I had formed a band called Solomon Medrano in memory of a drunkard who drove his van from a nearby ranch all the way to Monterrey and ran over several cyclists during an international cycling event.
The images correspond to spheres located in different areas of the city used to highlight electric cables. During those months, my video camera got damaged, which resulted on videos with a very particular pixelation. As I loved the way it pixelated the images, I never repaired it. This piece was the first one I recorded with the camera’s flaw.
FLYING OBJECTS
Solomon Medrano.
Video: Aldo Chaparro
Audio: Alejandro rosso
1999

Urban Shelter 
1998 
Video 
1:37 minutos 

TALLAS (CARVINGS)
1987 – 1998

 

TALLA I 
1998 
Video 
11:54 minutos 
TALLA II 
1998 
Video 
1:31 minutos 
TALLA III 
1998 
Video 
1:37 minutos 

 

The three carving videos were created around 1987, TALLA 1 and TALLA 2 were shown in Fluo, a solo show I had with Ramis Barquet, which also was the last solo show I did during those years in Monterrey. TALLA 3 was part of the Femsa Biennial in 1998. The installation consisted of a table with books from my father’s library that had been wildly attacked by moths. I saw the insect’s path through the book pages as a negative form, which became evident when I browsed rapidly through the pages. The video of this action was reproduced on a monitor above the books. Just like Talla 1 and 2, Talla 3 speaks a little about a topic that has always interested me: the relationship between positive and negative spaces.

 

John Cage said that music was the result of the relationship between sound and silence. Just like silence, the volumes around us are defined by the relationship between solid and void. It is the balance of both what defines form in the real world. For the Chinese, a cup isn’t defined by it’s matter, but by it’s capacity to hold. Containers need emptiness to hold, hence, gaps and voids define form.

 

After WWII, when Europe was facing a tremendous loss of humanity, two artists were highly promoted; Henry Moore and Barbara Hepworth. A common characteristic in them were that holes went across their forms. These holes alluded to an interior, which in a way represented the soul. The soul was what everyone in those moments felt obliged to talk about.

 

In the specific case of my carving videos, which represent my first thoughts on this subject, seek in some way to create a similar feeling to the one caused by the Tibetan mandalas. In that way, the apparent nonsense of eliminating the object makes sense as the process is praised. Carving a piece of wood to the point where the objectives isn’t finding a shape inside the block, but a process of reduction that will end with the material. In the same way, the pencil sharpener devouring the pencil emphasizes the reductive process of carving, converting solid into void, while propping up the most important parts of art: the process, the experience, and just like mandalas, the present moment.

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