VIEW IN MY ROOM
Mexico
Painting, Acrylic on Wood
Size: 5.9 W x 5.9 H x 0.6 D in
Ships in a Crate
Did sculptures of serpents carved in stone and painted descending from the hill of Chapultepec exist in pre-Hispanic times? This is a feasible idea if we consider that for many Mesoamerican peoples the snake meant flow and it is precisely water flows, underground currents, that inhabit this hill and that finally come to the surface through the Cincalco cave. The sculptures, therefore, would have been like a kind of x-rays or signs pointing to something that cannot be seen with the naked eye but that is there. In this place the baths of Motecuhzoma were located. Quetzalcoatl (here represented in the form of a snail) was a deity associated with the planet Venus, the brightest star during the day; Xolotl was the deity associated with the same star but at sunset.
Painting:Acrylic on Wood
Original:One-of-a-kind Artwork
Size:5.9 W x 5.9 H x 0.6 D in
Frame:Other
Ready to Hang:Yes
Packaging:Ships in a Crate
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships in a wooden crate for additional protection of heavy or oversized artworks. Crated works are subject to an $80 care and handling fee. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
Ships From:Mexico.
Customs:Shipments from Mexico may experience delays due to country's regulations for exporting valuable artworks.
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Mexico
As an artist what motivates my work is the search for spaces in which relationships are established as horizontally as possible between the individuals who collaborate in the projects and those who will coexist daily with the pieces in the public environment. In the words of Claire Bishop, art should emerge from common interests that do not mask a conflict of individualization instead of confronting and exposing it, but open us to the critical experience of being together, even if this is sometimes strange, elusive or even annoying. To achieve this, one alternative is to take up again some characteristic elements of the sense of communality – described by Floriberto Díaz Gómez – such as consensus in assembly for decision-making, free service as an exercise of authority, collective work as an act of recreation and artistic practices as an expression of the communal gift. This contributes to blur the hermeticism that sometimes separates contemporary art from the public and, at the same time, experiences can be developed that allow us to move in the opposite direction to the dehumanization, fragmentation and individualization that are so characteristic of our times.
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