Archivos para las entradas con etiqueta: Coverslips

Gabriel de la Mora @ Dialogues / Sicardi Ayers Bacino / July 15 – August 29, 2020

Artists: Jesús Rafael Soto, Francisco Sobrino, Carlos Cruz-Diez, Mercedes Pardo, Sérvulo Esmeraldo, Iole de Freitas, León Ferrari, Ana María Tavares, Thomas Glassford, Marco Maggi y Gabriel de la Mora.

Sicardi Ayers Bacino is pleased to present the exhibition Dialogues, on view from July 15 to August 29, 2020. This exhibition underscores the gallery’s core program since the 1990s: the search for challenging links between recognized modernists and mid-career and emerging artists.

Pioneers of the Op Art and Kinetic Art movement, Jesús Rafael Soto and Francisco Sobrino explored the viewer’s relationship to the art object, activating the space around the work through color and form. Carlos Cruz-Diez used the science of color theory to immerse the viewer in the experience of pure color. These and other artists of this generation, including Mercedes Pardo and Sérvulo Esmeraldo, were part of a vibrant expatriate community in Paris during the 1960s and 1970s. Exploring color, form, and space in two and three dimensions, they often invited the viewer to engage in a dynamic relationship with a bold colors and constantly shifting forms, as is evidenced in Sobrino’s Transformation Instable (1971/2013). Iole de Freitas, a native of Brazil who spent eight years in Italy, uses ordinary materials in sculptures that incorporate the elements of space and time.

León Ferrari spent his career between Argentina and Brazil, where he was actively involved in both the formal artistic concerns and the politics of his generation during the Argentine dictatorship in the 1960s.

In dialogue with these Modern masters, contemporary artists including Ana Maria Tavares, Thomas Glassford, Marco Maggi, and Gabriel de la Mora continue the exploration of abstraction through works with an underlying formal structure, but they ground their artistic production more in the conceptual than the perceptual realm. Ana Maria Tavares uses industrial materials to explore the emotional and psychological impact on the transformation of Latin American cities by Modern architecture and design in the mid 1990s. Glassford’s Stela series speaks to his investigation of consumerism through the lens of a ubiquitous and utilitarian object: the broomstick. While De la Mora also works with found objects, his investigations center around exploring the conceptual meaning of art and the liminal space between drawing, painting, and sculpture. Maggi invites the viewer to slow down and look closely, a notion that is highly counter-cultural in the age of technology.


CI / 63 I - cl, 2017

CI / 63 I – cl, 2017. Laca sobre cubreobjetos de cristal para microscopio sobre cartulina de museo / Lacquer on glass microscope coverslips on museum board 40 x 50 x 6 cm – 15.74 x 19.68 x 2.36 inches. Serie Cristales de Inevidencia / Crystals of Inevidence series.



Gabriel de la Mora: Crystals of Invidence, Sicardi Gallery, Houston  2017, Photo: Paul Hester.

Gabriel de la Mora: Crystals of Inevidence / Cristales de Inevidencia.

September 14 – October 19, 2017.

Sicardi Gallery

1506 W. Alabama St.
Houston, Texas 77006 USA.

(T) +1 713.529.1313
(F) +1 713.529.0443

Tuesday – Friday 10-6
Saturday 11-6
or by appointment.


Crystals of Inevidence


Throughout his artistic career, Gabriel de la Mora has studied the history of constructive art and in particular the relationship between monochrome and image. Crystals of Inevidence displays a series of visual games from the organization of coverslips -an industrial and monochromatic artifact- over two-dimensional monochromatic surfaces. Through this aesthetic process, the objects used in clinical labs for empirical examination, take on a symbolic character. What from an objective perception seems at first glance as a retinal experience of the artistic piece unexpectedly reveals what the transparency is hiding. What at first glance seems as a retinal experience from an objective point of view unexpectedly reveals what the transparency is hiding.

The parade of shadows and color displayed by this series of thirteen, refers us to a modernist monochrome tradition, while the organization of the objects reveal a geometric composition that shifts depending on the light and the position of the spectator. In this regard, the systematic organization of translucent objects and monochromes over two-dimensional planes unhide the non-obvious through modular structures and light contrasts. In this configuration plot, the placement of both the piece and the spectator give access to a sensory experience that gives way to an unrealistic phenomenon.

Unlike scientific proof, which consists on the rationalization of evidence, the work of Gabriel de la Mora focuses on the opposite: the disappearance of the objectual literality of minimalism into an optical conspiracy. These schematic manifestations that at a distance look like atmospheres drawn on the surface, are visual structures on which transparent objects hide in webs woven by their own shadows and light reflections. They appear and disappear, they show themselves only to hide later, as the piece is mounted, transferred and removed.

The use of prefabricated objects in the art of Gabriel de la Mora is consistent with the ready-made technique and the literality of minimalism. In this sense, objects are used as a physical presence, an aesthetic resource for the unveiling and disappearance. Thus, their functional sense is redesigned in the visual sensuality of shifting and ephemeral modular shapes. What we see is not what we really saw, since the evidence of its appearance is a ghostly phenomenon. The organizational rationality of this selection of thirteen pieces is clear testimony of the way in which de la Mora interweaves an aesthetic link to the history of constructive shapes, apparently functional and evident, in order to hold an imperceptible sensory space whose symbolic potential lies in its inevitable disappearance.

Unlike an opaque object, a translucent object reveals its interior. When such transparency shows the inevident, meaning a geometric ephemeral presence, there is a poetic opening in which vision is able to meet the sensory field of the imperceptible. This aesthetic allows for a review of the constructive forms where the objectual is displayed as a three-dimensional illusion on a plane. The inevidence is decanted as a shape molded by the emptiness, a haptic emptiness accessible to all the senses. The vision invites the spectator to take a look inside the crystals to be part of an illusory trap and to experience the appearance of the inevident. The shift between translucent objectuality and illusory projection gives way to a pendulous visuality in which the transparency of the object appears as an optical figuration that, far from the trompe-l’oeil, originates from the direct relationship with what is real. This scheme of illusory appearance unhides monochrome reticles as geometric spectra. With the Crystals of Inevidence series, de la Mora places a bet on the surface for the decryption of a constructivist functionality that is revealed, paradoxically, from the monochromatic transparency.


Willy Kautz



Cristales de inevidencia


A lo largo de su trayectoria artística Gabriel de la Mora ha investigado la historia del arte constructivista y, en particular, la relación entre el monocromo y la imagen. La serie Cristales de inevidencia, coloca a la vista una serie de juegos visuales a partir de la organización de cubre objetos, -un artefacto industrial y monocromático-, sobre superficies monocromas bidimensionales. Por medio de este procedimiento estético, estos objetos utilizados en laboratorios clínicos para la examinación empírica, adquieren un carácter simbólico. Lo que a golpe de vista se percibe como una experiencia retiniana en la percepción objetual de la obra, desvela, paradójicamente, aquello que la transparencia oculta.


El juego de sombras y colores que despliega esta serie de trece obras nos remite a la tradición del monocromo modernista, al tiempo que la organización de los objetos desvelan composiciones geométricas que cambian dependiendo de la luz y la posición del espectador. En este sentido, la organización sistemática de objetos translúcidos y monocromos sobre planos bidimensionales, desocultan lo inevidente por medio de estructuras modulares y contrastes lumínicos. En esta trama de configuraciones la colocación tanto de las obras como del espectador dan acceso a una experiencia sensorial que bien podría entenderse como una fenomenología de lo ilusorio.


A diferencia de la prueba científica cuyo objeto de estudio consiste en la racionalización de la evidencia, la obra de Gabriel de la Mora se centra en su opuesto: desvanecer la literalidad objetual del minimalismo en una trama óptica. Estas apariciones esquemáticas que a distancia parecen atmósferas trazadas sobre una superficie, son estructuras visuales en las que los objetos trasparentes se ocultan en redes tejidas por sus propias sombras y reflejos luminosos. Aparecen y desaparecen, se muestran para luego ocultarse nuevamente, en la medida en que la obra se monta, se desplaza y se desmonta.


El uso de objetos prefabricados en la obra de Gabriel de la Mora, son consecuentes con el procedimiento del ready-made y la literalidad minimalista. En este sentido se utilizan como presencia física, un recurso estético para figurar el desvelamiento y el desvanecimiento. Por lo tanto, el sentido utilitario de los objetos, se redimensionan en la sensualidad visual de formas modulares cambiantes y fugaces. Aquello que vemos no es lo que vemos, puesto que la evidencia de su aparición es un fenómeno fantasmal. La racionalidad organizacional de esta selección de trece obras, dan testimonio de cómo de la Mora entreteje una estética ligada a la historicidad de las formas constructivas, aparentemente funcionales y evidentes, para sujetar un espacio sensorial inmaterial, cuyo potencial simbólico radica en su inevitable desaparición.


Si bien un objeto translúcido a diferencia del opaco revela su interior; cuando la transparencia muestra lo inevidente, es decir, una presencia geométrica fugaz, tiene lugar una apertura poética en la que el ver es capaz de testimoniar el campo sensorial de lo inmaterial. Esta estética permite una revisión de las formas constructivas, cuando lo objetual se muestra en tanto que ilusión tridimensional sobre un plano. La inevidencia se decanta como forma que nos abre el vacío. Pero un vacío háptico, accesible a los sentidos. Tal visualización invita al espectador a mirar al interior de los cristales para evidenciar una trampa ilusoria, o bien, la aparición de lo inevidente.  Este movimiento entre la objetualidad translúcida y las proyección ilusorias, da pie a una visualidad pendular en la que la transparencia objetual aparece como figuración óptica que, lejos del trampantojo, emana de su relación directa con lo real. Este esquema de aparición ilusoria desoculta retículas monocromas en tanto que espectros geométricos. Con la serie Cristales de inevidencia, de la Mora coloca sobre la superficie una apuesta por la desencriptación de una figurabilidad constructivista que se revela, paradójicamente, desde la transparencia monocromática.

Willy Kautz


CI / 304 I, 2016, Coverslips / Cubreobjetos para microscopio, 27.55 x 19.68 in / framed 40.9 x 32.9 x 3.1 in. – 70 x 50 cm / enmarcado 104 x 83.7 x 8 cm

Zsona Maco 

Booth D209 Proyectos Monclova

Julios Heinemann, Adrien Missika, Edgar Orlaineta, Raul Ortega Ayala, Chantal Peñalosa, Martin Soto Climent, Tercerunquinto, Eduardo Terrazas, Anna Virnich y Gabriel de la Mora