ARTISTS
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  • Marina

    Marina, 2018

    Hand carved cellular concrete

    560 x 200 x 20 cm

  • Marina (detail)

    Marina (detail), 2018

    Hand carved cellular concrete

    560 x 200 x 20 cm

  • Túmulo II

    Túmulo II, 2018

    Painted steel

    130 x 80 cm

  • Túmulo III

    Túmulo III, 2018

    Painted steel

    90 x 60 cm

  • Túmulo V

    Túmulo V, 2018

    Painted steel

  • Dazzel Relief

    Dazzel Relief, 2017

    Hand carved cellular concrete

    60 x 25 x 25 cm

  • Bacterio Series

    Bacterio Series, 2017

    Painted steel in different sizes

  • Bacterio SXeries

    Bacterio SXeries, 2017

    Painted steel in different sizes

  • Artefactos del Encantamiento. Exhibition wiew at BilbaoArte

    Artefactos del Encantamiento. Exhibition wiew at BilbaoArte, 2017

    Onduline, steel, fiber-cement, painting and adhesive vinyl

    Different sizes

  • Artefactos del Encantamiento. Exhibition wiew at BilbaoArte

    Artefactos del Encantamiento. Exhibition wiew at BilbaoArte, 2017

    Onduline, steel, fiber-cement, painting and adhesive vinyl

    Different sizes

BIOGRAPHY

The word statement, perversely assumed and so in vogue in recent years, incorporates one of the most uncomfortable suffixes to talk about my work in a relaxed manner. Especially if we understand this section as a way of publicly and critically showing (not demonstrating) our work process.

If we stop to observe its etymological origin of statement, numerous words incorporate the suffix sta-. All of them allude to the immobile (static), to what is taken for granted (state), to what is fastened (stake), to what sets limits and frames (stable, stadium), to what emphasizes and sustains what is established (statue, estate).

My work in recent years, with a tendency from/against the sculptural, emphasizes precisely this question, the questioning from the smallest to the hegemonic constructions assumed. In my case, this interest has its starting point in the problem of the "monumental" (etymologically speaking) in its relationship with the preservation of memory and to think of the monument as a "medium" or container of social conflicts and relations with power. My interest in this format, the monument, responds more to a strategic than formal interest in the construction of history and the conformation of hegemony.

 

Each variation, translation and rupture of the material or processual statism configures a new staging of the constructed reality. The setting in crisis, the doubt as a constant of what has been assumed is precisely the path of my personal work; humbly assuming my minuscule capacity and smallness to alter the smallest of the springs. My practice has more to do with simple pointing, re-reading, prophecy or utopian prediction than with certainties.

Mario Espliego

NEWS

Feria Estampa 2019
october 20, 2019







 

© 2011 Isabel Hurley