ACTUAL
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MUNDO FLOTANTE (FLOATING WORLD). CURATED BY ALFREDO ARACIL september 29 - november 18, 2017
  • Untitled 1

    Untitled 1, 2017

    acrylic on canvas. 162 x 130 cm

  • Untitled 1

    Untitled 1, 2017

    Acrylic on canvas with UV light hiting. 162 x 130 cm

  • Untitled 2

    Untitled 2, 2017

    Acrylic on canvas. 162 x 130 cm

  • Untitled 2

    Untitled 2, 2017

    Acrylic on canvas with UV light hiting. 162 x 130 cm

  • Untitled 3

    Untitled 3, 2017

    Acrylic on canvas. 162 x 130 cm

  • Untitled 3

    Untitled 3, 2017

    Acrylic on canvas with UV light hiting. 162 x 130 cm

  • Untitled 4

    Untitled 4, 2017

    Acrylic on canvas with UV light hiting. 162 x 130 cm

  • Untitled 4

    Untitled 4, 2017

    Acrylic on canvas with UV light hiting. 162 x 130 cm

  • Untitled 5

    Untitled 5, 2017

    Acrylic on canvas. 162 x 130 cm

  • Untitled 5

    Untitled 5, 2017

    Acrylic on canvas with UV light hiting. 162 x 130 cm

  • Mundo flotante (Floating world) 1

    Mundo flotante (Floating world) 1, 2017

    Ink on paper. 21 x 27,5 cm

  • Mundo flotante (Floating world) 1

    Mundo flotante (Floating world) 1, 2017

    Ink on paper with UV light hiting. 21 x 27,5 cm

  • Mundo flotante (Floating world) 2

    Mundo flotante (Floating world) 2, 2017

    Ink on paper. 21 x 27,5 cm

  • Mundo flotante (Floating world) 2

    Mundo flotante (Floating world) 2, 2017

    Ink on paper with UV light hiting. 21 x 27,5 cm

  • Mundo flotante (Floating world) 3

    Mundo flotante (Floating world) 3, 2017

    Ink on paper. 21 x 27,5 cm

  • Mundo flotante (Floating world) 3

    Mundo flotante (Floating world) 3, 2017

    Ink on paper with UV light hiting. 21 x 27,5 cm

  • Mundo flotante (Floating world) 4

    Mundo flotante (Floating world) 4, 2017

    Ink on paper. 21 x 27,5 cm

  • Mundo flotante (Floating world) 4

    Mundo flotante (Floating world) 4, 2017

    Ink on paper with UV light hiting. 21 x 27,5 cm

  • Mundo flotante (Floating world) 5

    Mundo flotante (Floating world) 5, 2017

    Ink on paper. 21 x 27,5 cm

  • Mundo flotante (Floating world) 5

    Mundo flotante (Floating world) 5, 2017

    Ink on paper with UV light hiting. 21 x 27,5 cm

  • Mundo flotante (Floating world) 7

    Mundo flotante (Floating world) 7, 2017

    Ink on paper. 21 x 27,5 cm

  • Mundo flotante (Floating world) 7

    Mundo flotante (Floating world) 7, 2017

    Ink on paper with UV light hiting. 21 x 27,5 cm

  • Mundo flotante (Floating world) 8

    Mundo flotante (Floating world) 8, 2017

    Ink on paper. 21 x 27,5 cm

  • Mundo flotante (Floating world) 8

    Mundo flotante (Floating world) 8, 2017

    Ink on paper with UV light hiting. 21 x 27,5 cm

  • Mundo flotante (Floating world) 9

    Mundo flotante (Floating world) 9, 2017

    Ink on paper. 21 x 27,5 cm

  • Mundo flotante (Floating world) 9

    Mundo flotante (Floating world) 9, 2017

    Ink on paper with UV light hiting. 21 x 27,5 cm

  • Mundo flotante (Floating world) 10

    Mundo flotante (Floating world) 10, 2017

    Ink on paper. 21 x 27,5 cm

  • Mundo flotante (Floating world) 10

    Mundo flotante (Floating world) 10, 2017

    Ink on paper with UV light hiting. 21 x 27,5 cm

  • Mundo flotante (Floating world) 6

    Mundo flotante (Floating world) 6, 2017

    Ink on paper. 21 x 27,5 cm

  • Mundo flotante (Floating world) 6

    Mundo flotante (Floating world) 6, 2017

    Ink on paper with UV light hiting. 21 x 27,5 cm

PRESS RELEASE

The visible and the invisible are two forces that from the Ancient World have been fighting on the battlefield of visual culture - yes, the former History of Art. What is shown and what is hidden, in different ways and through different formulations, but always depending on an image rules that acts as a moral. Although, actually, as Fernando Gutiérrez shows with this new project, this antagonism is a more porous terrain than it seems to be. Not in vain, more than a gap between the two poles is a continuity, a transference, a distance that, back and forth, makes it impossible to think what is seen without what it apparently is not.

 

Floating world is a project that shows the paradox of a double figuration. On the one hand, the lost and mutant corporality of Fernando Gutiérrez´s universe, which our eyes perceive in normal light conditions, and on the other hand, some erotic images of spectral nature that, painted with photochromic material, can only be seen when ultraviolet radiation hits the molecular structure of the painting. Camouflage, although in a very different sense to the one that operates when there is a saturation of color ranges. It´s rather a way of conceptual disclosure that, somehow, refers us to the idea of ​​an inhabited emptiness that our view, negotiating with the symbolic, returns to us.

 

The tradition of Shunga images or prints of the floating world, an explicit way of painting sexual scenes typical of the XVII century in Japan, was prosecuted since the Meiji era, in the mid-nineteenth century, due to its alleged obscene nature, not supported by public health and hygiene imposed by Modernity. At the origin of this plastic research about the contradictions that build the game of gaze and the desire to see, this way of representation along with its social uses and geographical circulation - not only was once prohibited in the Eastern but also when it penetrates in the european avantgarde during the late nineteenth century - has been explored by Fernando Gutiérrez in his elaboration of this abysmal world of unveiled images.


A new twist to the artist's obsessions, but now he trys a way of eroticism definitely not naive, but uncany and disturbing, even murky because it´s capable of transporting us to a way of pleasure that implies repetition and blind obedience. Sex as "a place of horror, a hole totally open, a thing of an extreme orality, with an unknowable essence: a real, an erotology". This is how Jacques Lacan described the disturbing painting imagined by Courbet, The Origin of the World. Before belongs to the French State, the painting remained hidden for decades at the psychoanalyst home behind another abstract canvas and a double bottom system that, designed by André Masson, allowed cover and discover the painting. The trompe l'oeil of human passions, where looking is a way of imagining itself and possessing.

 

                     Alfredo Aracil

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