Galeria Enrique Guerrero, Mexico City
Some authors understand landscape as a cultural construction of places, the English word seems to prove such definition, as if landscape existed only in the distance between the observer and the land. Such temporal and spatial distance, appears to determine places’ representations, but also the viewer that can’t escape from its time and its constructions of the world that inhabits.
For Carolina Ponte, Pedro Varela, Pedro Vaz, Richard Stipl, Beatriz Zamora and Franco Arocha those constructions became particular shapes, their depicted lands appear strangely familiar and still ubiquitous, as a symptom of contemporary topographies. Beatriz Zamora black landscapes recall the ground almost phenomenologically, using the land itself on the canvas, creating images close to planet and universe satellite views; while Richard Stipl makes a game between the mind and body landscapes, as if memory emerged from monstrous inner lives, showing their place on flesh. Ornaments, patterns and colors arise in Carolina Ponte’s paintings, in a more anthropological approach to landscape: everything from now on we will see is the produced, the material affections of our culture. On the opposite despite its formal similarity, Pedro Varela’s work creates the patterns of inexistent lands, of possible countries with their own possible architectures, creating a game between utopia and entropy. Finally, Pedro Vaz and Franco Arocha use one of the oldest techniques of knowledge: walk. Territories are collected in fragments almost scientifically by extracting paint chips of Latin American cities, or captions of that so called nature.