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In an exhibition entitled retroceso-el sueño dormido- Andrés Monteagudo presents a series of works in formats ranging from installation to DVD, painting and photography using techniques and materials that encompass acrylics, galvanised wire, binding thread, tacks, perforations, knife cuts, light, video and photographs, all of which create a process that is both creative and investigative through the use of white (a dominant colour throughout his work) and the vertical and horizontal line.
Reflecting on this work, the artist remarks:
“The main, central element that I play with and develop in both creative and investigative terms is the (vertical and horizontal) line, in principle based on the basic elements of drawing, painting, sculpture and architecture: light, shadow (light-dark), volume, and space.
Both related to the creative discourse underpinning my work and research and also carrying it forward, the work proposes the use of mathematical-scientific reasoning (with intuition as the intermediary) to discover or rediscover forms of repetition and order in nature and the universe. In this respect, I search for the mediating elements found in intuition and imagination that art and science use to nourish their processes of understanding. My investigations take me back to the anthropological aspects of symbolic thought that will lead me to an approach related to the concepts of number and space.
In the work retroceso-el sueño dormido- I create, under the dominance of the colour white, a common nexus between the different poetic and conceptual elements of all the component parts of the piece:
In the poetics that architecture offers us, a threshold marks the division between the world of wakefulness on one side and the world of sleep on the other. The line traced by the threshold comprises the mediating world of reverie, the margin of the imagination, of madness, that makes us transcend one reality to transport us to another that is easier to understand.
Reverie serves as a vehicle towards retreat, to that other aspect of memory, the processes of the creation of symbologies that unleash the collective memory that forms part of oblivion [“oblivion: that other form of memory”, J.L. Borges]. These human actions that are preformed by pure intuition or primary instinct, that impel us to act without knowing why, but with an almost involuntary pressing need to do so, that can even come to dominate and take precedence over the ideological, cultural and moral aspects most deeply rooted in us, in a modern man of reason, perhaps form part of our genetic memory, of our survival in the constant eternal evolutionary struggle inherent in our biological configuration.
(architecture-living space-corners-angles-marginal spaces):
“For great dreamers of corners and holes nothing is ever empty, the dialects of full and empty only correspond to two geometrical non-realities. The function of inhabiting constitutes the link between full and empty. A living creature fills an empty refuge; images inhabit…” (Gaston Bachelard).
The geometry of the habitat provides the universal measure (space) and with the help of this measure, we can locate the material, the walls of intersection between vertical and horizontal and from here, from this reference point, take the cartographer’s gear and create the map that lets us move through the labyrinth constructed by the different living spaces in our mind to find the last corner, the last edge down which we slide towards an angle, to the hiding place, to the refuge.
Water, as a function of reflecting all that looks upon it, is the trap, the bait that captures. Light, electricity runs through cables. Unseen, it is transformed and transported (the umbilical cord; the embryonic part).
The great thinkers of the Nasrid era (mathematicians, physicists, astronomers, etc.) used ponds as a kind of trap to capture the reflection of the heavenly bodies in order to study their measurements, distances and movements, creating a philosophy of the number and mathematical reasoning which used geometry to develop a discursive poetics of the dialectic between space and the individual.”