BRISE [BRISE-SOLEIL]
Brise [Brise-soleil] 2014 aluminum louvre
I. 0,70 x 0,70 x 0,15 m
II. 0,50 x 1,80 x 0,15 m
III. 0,70 x 1,50 x 0,15 m
IV. 0,50 x 1,38 x 0,15 m
V. 0,27 x 3,51 x 0,15 m
VI. 0,35 x 2,65 x 0,15 m
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I. 0,70 x 0,70 x 0,15 m
II. 0,50 x 1,80 x 0,15 m
III. 0,70 x 1,50 x 0,15 m
IV. 0,50 x 1,38 x 0,15 m
V. 0,27 x 3,51 x 0,15 m
VI. 0,35 x 2,65 x 0,15 m
Brise [Brise soleil] is a set of suspended and beveled aluminum structures – an industrial repertoire composed by geometric shapes, which has been the latest characteristic of the artist. A constellation of heterodox “mobiles” which becomes a single piece (such as an archipelago that ties the separation) and therefore speaks of its fragmentation as cogenerating units of space, as well as of its visual levitation-oscillation (of the triad weight-volume-space).
However, its aerial place - so decisive between the ceiling and the floor - is the cause of its disturbing presence of moving installation because it emphasizes a loose horizon, revealing the passage of time in movement: the work is neither compact nor fragmented or light. Brises [Brise-soleil] are hollow structures, which can have binding character or can be parts of a single work. Oscillating and hanging in pendulum-like manner, the different shapes of polyhedron in trapezoidal cutouts exercise a common, general, composed point of equilibrium, which seems to be tied to the complexity of our social conviviality context, not totalizing and dependent on the position of each one, which does not hide a certain abyssal side.
These sculptural objects have a virtual optical nature. They are part of a visual alphabet of lighting variation that validates a music score (the icon of new music), something that also happens with mobile or movable timbres of Calder or Palatnik. It registers a mute sound scale, from the silent realm, made with the purpose of contemplation whose real beam is the space between, that is, the movements betrayed among the shapes and the dialogue they establish among them, in a certain complementation game. We breathe an installation with a suspended, cropped format of overlapped shutter and brise-soleil – even of columnar fragments – made for the gaze of a farther destination, architectonically open. This collection of sculptural accents hanging in the air is part of the three- dimensional traditional where the air is co-participant of its structure.
These sculptural objects have a virtual optical nature. They are part of a visual alphabet of lighting variation that validates a music score (the icon of new music), something that also happens with mobile or movable timbres of Calder or Palatnik. It registers a mute sound scale, from the silent realm, made with the purpose of contemplation whose real beam is the space between, that is, the movements betrayed among the shapes and the dialogue they establish among them, in a certain complementation game. We breathe an installation with a suspended, cropped format of overlapped shutter and brise-soleil – even of columnar fragments – made for the gaze of a farther destination, architectonically open. This collection of sculptural accents hanging in the air is part of the three- dimensional traditional where the air is co-participant of its structure.
Adolfo Montejo Navas, critic and curator, in text liminal actions of seeing in Brise [Brise-soleil], 2019