18Libro_Sinestesia_completo-final

JESSICA STOCKHOLDER
‘In the course of our lives we make an infinite number of decisions. The reasons
why we live are a combination of feelings and thoughts, reason and intuition.
I don’t think that the two concepts can be separated. Colours, smells, evoke
sensations. I don’t know exactly why, but that’s how it is.
‘I work with colour, with the materials, with the composition to explore the
connections between the emotion and its intellectual response.
‘An orange fin, an industrial hook, a plank stitched to an abstract resin form,
a blue object, a green spot… the world in which I live is full of meanings. All of
this may create a feeling of discomfort, of conflict, but there’s also an optimistic,
exciting vision that comes from the possibility of something new, something
fantastic emerging.
‘Perhaps without realizing it, I also work with smells… with my olfactory
memories. Can it be true?’
—Extract from a conversation between Jessica Stockholder and Alberto de Juan
Art & Language
These paintings belong to the genre that takes up the lowest rank among
the traditional genres of painting. The most home-loving and affected: the
still life. However, the still life object is a domestic and often movingly heroic
trophy. But there is a disorder here, a pictorial or representation disorder. The
painting represents a recipient, a container of liquids and that recipient in its
turn has turned into liquid. Are we before a representation of the recipient
liquefaction or before the literal liquefaction of the own representation...
or before a representation of the liquefaction representation? According to
modern art canons, in any case the represented object has become somehow
literal, has turned into a painting. But this literal substance is in fact more and
more pictorial, increasingly hysterical and virtual. The geometrical plane on
which everything rests is also distorted to make up both a spatial location of
the trophy as well as one of the material sources of the iconic disorder.
The entire image is confined—kept at a distance—behind a glass layer, a
surface reflective as a mirror. The disturbance has been processed. It takes
place in the distance. Literal turned into pictorial and pictorial turned into
literal are the target of a supervened pictorially—a remoteness—provided by
the glass.
LuIs Gordillo
Water lilies
Water lilies
synthetic
cloned
rusted
plasticized
sterilized
dissected
virtual
metallic
antimonetian
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