Archive for the ‘Exhibitions’ Category

KIV-Acacia / CEART SLP

 

La aritmomancia y la numerología reconocen en el tres al poder universal. Este número representa la naturaleza tripartita de la condición humana: cuerpo, alma y espíritu; el ciclo del nacimiento, vida y muerte. De la misma manera, Acacia simboliza el principio, el medio y el fin. Esta instalación es una metáfora de los misterios de la vida y la muerte que generan un ciclo completo en sí mismo; presente, pasado y futuro, unidos por el poder metafísico del arte.

Las tres fases de la instalación Acacia representan, entre otras cosas, el tránsito simbólico por un espacio que es el todo y el fin de todo: la regeneración.

En un primer espacio abierto, el visitante se encuentra con el lugar donde ha de instalarse la muerte: un cementerio exportado en vías de construcción, donde el perímetro de cal que define el área que ocupará cada una de las tumbas, sugiere el frágil encuentro entre la inmovilidad y el movimiento. Al atravesar la imagen de la capilla funeraria de la logia “El Potosí”, impresa sobre tres lienzos, el visitante se encuentra repentinamente dentro de un oscuro túnel sin salida. Al fondo, al igual que el rayo de sol que impacta la imagen de la puerta de la capilla funeraria, un haz de luz ilumina un ataúd, cuya cubierta porta una estrella de bronce de cinco puntas; a su lado, una pala de oro y un maso de plata reposan inertes, mientras un retoño de acacia crece para alcanzar las palabras de la iniciación que se reflejan dentro del ataúd: mi nombre es acacia.

αϗαϗια, que en griego significa, tanto la planta misma como la calidad moral de la inocencia o pureza de la vida, es la condición iniciática para emprender el ascenso hacia el grado más elevado de la evolución espiritual. La catarsis inducida por el Arte, al igual que la naturaleza inmutable y siempre verde del retoño de acacia, evocan la mejor parte de nosotros mismos, aquella que nunca muere. De la misma manera, esta instalación nos recuerda que en el inicio de la vida, la inocencia permanece inmóvil en su tumba, en espera de la inevitable llamada hacia su “inmortalidad.”

 

El_Potosi_web

Acacia_Dust

 

“Mi nombre es Acacia”: el poder de los símbolos

La palabra cementerio proviene del griego κοιμητηριον que significa dormitorio.

Cada vez que se presenta, el Proyecto Koimeterion -Proyecto K- cobra una dimensión distinta, porque el espacio es parte esencial del mismo, al igual que mi experiencia en su creación.

A la presentación del Proyecto K en el Centro de las Artes de San Luis Potosí, le corresponde cronológicamente el número cuatro

Son precisamente la letra K y el número cuatro romano los que, simbólicamente unidos, representan el compás y la escuadra entrecruzados. Entrecruzados como los hilos de las parcas; entrecruzados como los hilos que delimitan sobre la tierra, las tumbas del del cementerio exportado y en vías de construcción. Un cementerio inacabado, como la vida que sabemos con certeza cuando inicia pero jamás cuando termina. Entrecruzados como las vidas de los que hoy estamos aquí reunidos.

KIV es un espacio que contiene otro espacio que representa el espacio donde ha de instalarse la muerte.

Un espacio que ha sido liberado, tanto de su función original como de su concepto. Un cementerio que no es cementerio, dentro de una cárcel que no es cárcel: Arquitectura de lo absurdo. Arquitectura de la libertad.

Esta noche celebramos diez años de libertad de una cárcel que hoy alberga artistas en lugar de presos y me siento muy honrado de haber sido uno de los sepultureros de su pasado.

Del mismo modo en que en el año de 1890 este penitenciaría fue inaugurada sin estar acabada, hoy se inaugura esta instalación sin terminarse, como una metáfora del cementerio mismo: ese espacio donde inicia aquello que nadie sabe donde termina.

La imagen que dio origen a la instalación que lleva el nombre de Acacia se me presentó mientras tomaba la fotografia de la entrada de la capilla funeraria de la logia “El Potosí”, dentro del cementerio “El Saucito” de esta ciudad.

El sauce y la acacia, ambos árboles que nacieron en un cementerio y que cobran una dimensión diferente cuando se convierten en símbolos.

El retoño de acacia que crece detrás del ataúd, nos recuerda que la inocencia que reposa dentro de este no está muerta, simplemente duerme esperando ser despertada por la voz del Gran Arquitecto, para dejarse conducir a un estado de conciencia más elevado. Acacia es entonces una metáfora de la muerte en vida y su resurrección.

Con el nacimiento se abren las puertas del templo de los misterios, al cual entramos con los ojos vendados para no ser cegado por la luz de la sabiduría que en él habita. Al salir de esta iniciación tenemos un nombre: nuestro nombre es Acacia.

 

Alejandro Gómez de Tuddo

Centro de las Artes de San Luís Potosí, 24 de agosto de 2018

 

Acacia_engraving

 


KIII – Pantonecropolis – Columbarium / CENART

 

KIII_panoramic_web

KIII Exhibition Entrance

Collumbarium_Installation_web

Columbarium Installation – Centro Nacional de las Artes, Mexico City, October 2017-February 2018

Columbarium_autoportrait-web

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Self-Portrait, Columbarium  – Centro Nacional de las Artes, Mexico City, October 2017-February 2018

 

 

 

Columbarium_Performance_icon            

Columbarium_Performance_CENART_2018

audio-icon-black

Columbario_audio_stereo

KIII – CENART – VIDEO

 

KIII_Foyer

KIII Foyer

 

Pantonecropolis_Room_web

Pantonecropolis Hall

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 


KII – Pantonecropolis / AuditoriumArte

New York I (Calvary – Queens), USA 2014

 

Cemeteries are deliberately created and highly organized cultural landscapes, which tell much about mankind’s view of life and death. The photographs which focus on the inner dealings of societies betray our chaotic fears, terrors and tremors which ironically create some sort of order, when all is seemingly gone. The panoramic photographs reflect the architectural liberty and the aesthetic freedom granted by death, which frees man from cultural constructions. These photographs show how funeral architecture becomes the ultimate expression where all fantasies, all emotions can be: if there is a mimesis between the architecture of life and that of death, the latter goes further, architectural imagination is let loose, and the departed are granted with a palimpsest of potentialities and emotional avatars of all that which could have been, may never have been and yet, is now, for ever. 

 

Cemetery_Rio_de_Janeiro_B&W_P1010112

Rio de Janeiro I, Brazil, 2013

 

Cemetery_Old_Cairo_Egypt_web

Old Cairo, Egypt, 2017

 

Cemetery_Marseille_Saint_Pierre_2

Marseille (Saint Pierre), France, 2015

 

Cemetery_Quenns_Calvary_B&W_pan_P1020440

New York II (Calvary – Queens), USA, 2014

 

Tepic_Hidalgo_Mexico_2016

Tepic (Hidalgo), Mexico, 2016

 

Cemetery_Berlin_Weissensee

Berlin (Weisensee), Germany, 2016

 

Cemeteries_Fingal_Balgriffin_B&W_pan_MG_2433

Dublin (Fingal), Ireland, 2015

 

Cemetery_Brescia_(Vantiniano)_web

Brescia (Vantiniano), Italy, 2014

 

Cemetery_Pachuca_Municipal_B&W_IMG_3812

Pachuca, Mexico2015

 

Cemetery_Dublin_(Mount_Jerome)

Dublin (Mount Jérôme), Ireland, 2016

 

Cemetery_Lipari, Italy

Lipari,  Italy, 2015

 

Cemetery_Taxco_Mexico

Taxco, Mexico, 2015

 

Cemetery_New_Orleans_(St_Louis_II)_USA

New Orleans (Saint Louis II), USA, 2014

 

Cemetery_Rio_de_Janeiro_B&W_P1010116

Rio de Janeiro II, Brazil, 2013

 

Cemetery_Constantine_Algeria_web

Constantine, Algeria, 2016

 

Cemetery_Milan_(Monumentale)

Milan (Monumentale), Italy, 2015

 

Cemetery_Barcelona_(Montjuic)_Spain_web

Barcelona (Montjuic), Spain, 2013

 

Cemetery_Cairo-Suez_Hyway_Km.26_Egypt_web

Cairo-Suez Hyway (Km.26), Egypt, 2017

 

 

Sublime encounters are of the most visceral and memorable ones in human experience. Pantonecropolis explores how architectural and landscape manipulations can evoke sublime experiences and can lift individuals from the everyday into the transcendental. Alejandro Gómez de Tuddo takes us into a necrogeography of the everyday, of the mundane and of the detail, with the intimate photographs of the first two rooms, as well as into a necrogeography of the beyond, with the panoramic photographs of the larger room. Both movements of the exhibition, when brought together, investigate the transcendental nature of the cemetery…

Download: Towards a Necrogeography of the Sublime

 

 

Museums & Galleries

 

AuditoriumArte
Curator: Anna Cestelli
Rome, 2016

 

 

Pantecropolis sala frontal web

 

Pantonecropolis_Gian_Francesco_Mainardi_web

 

 

La fotografia panoramica del Cristo morto è l’opera attorno a cui ruota, figurativamente e concettualmente, il progetto espositivo Pantonecropolis di Alejandro Gomez de Tuddo in AuditoriumArte.

Fotografato su una parete del cimitero di Messina, il corpo del Cristo – steso sulla lastra d’unzione secondo un’iconografia rinascimentale del Cristo Morto che ci ricorda quello straordinario del vertiginoso scorcio del Mantegna -, è un’immagine di alta intensità simbolica che condensa e racchiude in sé la dimensione intima delle fotografie in bianco e nero della prima sala, e quella invece più apertamente pubblica delle grandi fotografie panoramiche della seconda sala: ampi orizzonti dove le architetture dei cimiteri si fondono con lo skyline delle città sullo sfondo.

La dimensione privata della Morte è fissata dallo sguardo sobrio ed elegante dell’artista in fotografie scattate nelle sue flanerie solitarie nelle “città dei morti” in giro per il mondo: preziose composizioni di Vanitas rubate al tempo che scorre, alcune più astratte e suggerenti e altre più realistiche e crude, memori anche nel sapiente gioco di luce e ombra della Natura Morta seicentesca. Natura Morta anch’essa, la fotografia del Cristo introduce tuttavia, nella sua orizzontalità, alla dimensione collettiva e antropologica della Morte delle vedute panoramiche dei cimiteri allestite a scorrere una dietro l’altra… Download: Gallery Exhibition Text

 

 

Pantonecropolis_3_women_web

 

 

Artwork List & Technical Specifications

 

1. New York I (Calvary – Queens), USA, 2014
Black & white digital fine art print on Hahnemühle photo rag  ultra smooth paper, 1/5
190 x 70 cm

2. Marseille (Saint Pierre), France, 2015
Black & white digital fine art print on Hahnemühle photo rag  ultra smooth paper, 1/5
190 x 70 cm

3. Sidi Bel Abbes (Mulai Abdelkader I), Algeria, 2016
Black & white digital fine art print on Hahnemühle photo rag  ultra smooth paper, 1/5
190 x 70 cm

4. Rio de Janeiro I, Brazil, 2013
Black & white digital fine art print on Hahnemühle photo rag  ultra smooth paper, 1/5
190 x 70 cm

5. New York II (Calvary – Queens), USA, 2014
Black & white digital fine art print on Hahnemühle photo rag  ultra smooth paper, 1/5
190 x 70 cm

6. Algiers (Miramar), Algeria, 2016
Black & white digital fine art print on Hahnemühle photo rag  ultra smooth paper, 1/5
190 x 70 cm

7. Tepic (Hidalgo), Mexico, 2016
Black & white digital fine art print on Hahnemühle photo rag  ultra smooth paper, 1/5
190 x 70 cm

8. Bordj (Sidi Zitouni), Algeria, 2016
Black & white digital fine art print on Hahnemühle photo rag  ultra smooth paper, 1/5
190 x 70 cm

9. Dublin (Fingal), Ireland, 2015
Black & white digital fine art print on Hahnemühle photo rag  ultra smooth paper, 1/5
190 x 70 cm

10. Brescia (Vantiniano), Italy, 2014
Black & white digital fine art print on Hahnemühle photo rag  ultra smooth paper, 1/5
190 x 70 cm

11. Pachuca, Mexico2015
Black & white digital fine art print on Hahnemühle photo rag  ultra smooth paper, 1/5
190 x 70 cm

12. Biskra (M’Chouneche), Algeria, 2016
Black & white digital fine art print on Hahnemühle photo rag  ultra smooth paper, 1/5
190 x 70 cm

13. Dublin (Mount Jerome), Ireland, 2016
Black & white digital fine art print on Hahnemühle photo rag  ultra smooth paper, 1/5
190 x 70 cm

14. Lipari,  Italy, 2016
Black & white digital fine art print on Hahnemühle photo rag  ultra smooth paper, 1/5
190 x 70 cm

15. Taxco, Mexico, 2015
Black & white digital fine art print on Hahnemühle photo rag  ultra smooth paper, 1/5
190 x 70 cm

16. New Orleans (Saint Louis II), USA, 2014
Black & white digital fine art print on Hahnemühle photo rag  ultra smooth paper, 1/5
190 x 70 cm

17. Rio de Janeiro II, Brazil, 2013
Black & white digital fine art print on Hahnemühle photo rag  ultra smooth paper, 1/5
190 x 70 cm

18. Milan (Monumentale), Italy, 2015
Black & white digital fine art print on Hahnemühle photo rag  ultra smooth paper, 1/5
190 x 70 cm 


KI – Hasht Bihisht / Irish Georgian Society

http://www.gomezdetuddo.com/wp-content/uploads/2010/09/Porta-féretros-Recoleta-Buenos-Aires-2012.gif


INDIA 50/50

 

INDIA 50 / 50 is fine art photography series, consisting of 50 black and white images, taken by visual artist Alejandro Gómez de Tuddo during his 50 days journey around India. Only one image is chosen per working day.

In this original collection, the ancestral poetic essence of India is captured through the timelessness resulting out of the merging of space and place, and of people and minds. On one side it shows a diachronic narrative on India, while its counterpart generates a contemporary and synchronic work on today’s India. Both parts, brought together, dovetail into each other and foster a further visual text, out of which rises yet again another discourse on irony, on aesthetics and on the photographic world Alejandro Gómez de Tuddo lives in.

This project enables the viewer to follow the artist’s visual diary, where India – as a country – soon becomes another place: that of a world closer to ours, the world which we all live in, where place becomes irrelevant and where space becomes mankind’s nest, which like the author’s world, is never finished.

 

 

Mrs. Chandrakanta, Mehrangarh Fort, Jodhpur, Rajasthan Town Fair, Ahmedabad, GujaratJumbo Circus, Agra, Uttar Pradesh_IMG_2395 BUS-STATION,-Udaipur,-Rajasthan

 

 

Museums & Galleries

INDIA 50/50 is a travel art project comprised of 50 photographs taken over 50 days. Every time I would feel I had the photograph of the day, I would use the first means of transportation available to whichever destination it would take me. Once arrived, I would start all over again up until the following morning. In so doing, I drew a metaphoric time map of a space in a state of transition.

In the title INDIA 50/50, the first number 50 corresponds to the India of the collective imaginary. The / stands for the liminal space where my photographs are situated, whilst the last number 50 refers to an India morphing into a new identity.

 

INDIA_50-Copper_House_3  INDIA_50-50_Tasveer_gallery_1_website

INDIA 50-
Copper House Gallery
Curator: Jean-Philippe Imbert
Dublin, Ireland, 2014

INDIA 50-50
Tasveer Gallery
Curator: Abishek Poddar

Bangalore, India, 2015

                                                                                         

Cervantes_sala_1_web

Cervantes_sala_7_web

INDIA 50-50
Curator: Jean-Philippe Imbert

Instituto Cervantes, New Delhi / Delhi International Photo Festival 2015

 

 

India 50/50 is an attempt to fathom the morphing meaning of space and place in our era of “incredulity”. The world we are in is a world that is fully available to us, in the sense that us humans have fully explored its surface and brought all but the most remote corners of the Earth into an all-encompassing informational and economic system. Nonetheless, the meanings of the places through which we move have been subject to unprecedented levels of instability. Alejandro Gómez de Tuddo focuses on this instability. Although there may be no virgin territories or terra incognitae waiting to be discovered (short of outer spaces and the deepest depths of the ocean), the artist does a lot of work at the interstices between established domains, whose borders are constantly being called into question. The public recognise these spaces and these places, but sees them differently. This is because the visual eye of the camera and the visual I of Alejandro Gómez de Tuddo generate a discourse of transgression (= etymologically, a crossing of borders). This discourse provides a relevant model for spatial thinking in the post postmodern era India is entering in.

The lead photograph epitomises 50/50ness where a head, being built or rebuilt, is supported by a careful scaffold. Mankind has scaffolded the world, India is scaffolding itself into the future and Alejandro Gómez de Tuddo steps onto the scaffold and focuses on its interstices to see India.

 

Download: INDIA 50- Dublin Exhibition Video 2014

 

 

 

Artwork List & Technical Specifications

Black & White Photographs (edition of 5) 

1. Snow Splash, Island Grounds, Chennai, Tamil Nadu
Digital print on cotton paper, 1/5
78 x 65 cm

2. Shirt, Asi Ghat, Varanasi, Uttar Pradesh
Digital print on cotton paper, 1/5
78 x 65 cm

3. Charity Birds' Hospital Roof Top Metalic Structure, New Delhi, Uttar Pradesh
Digital print on cotton paper, 1/5
78 x 65 cm

4. Shadow, Tulsi Ghat, Varanasi, Uttar Pradesh
Digital print on cotton paper, 1/5
78 x 65 cm

5. Chinese Fishing Net, Thopumpady Port, Kochi, Kerala
Digital print on cotton paper, 1/5
78 x 65 cm

6. SX4 Billboard, New Delhi, Uttar Pradesh
Digital print on cotton paper, 1/5
78 x 65 cm

7. Open Beheaded Statue, Bangalore-Mangalore, Karnataka
Digital print on cotton paper, 1/5
78 x 65 cm

8. Wedding Stage, Karwar, Karnataka
Digital print on cotton paper, 1/5
78 x 65 cm

9. Monsoon, Indore-Bhopal Road, Madhya Pradesh
Digital print on cotton paper, 1/5
78 x 65 cm

10. Hanging Bird, Dharamshala, Himal Pradesh
Digital print on cotton paper, 1/5
78 x 65 cm

11. Hanging Clothes, Narad Ghat, Varanasi, Uttar Pradesh
Digital print on cotton paper, 1/5
78 x 65 cm

12. Jesus Christ Column, Commonwealth War Graves Outskirts, Chennai, Tamil Nadu
Digital print on cotton paper, 1/5
78 x 65 cm

13. Jumbo Circus, Agra, Uttar Pradesh
Digital print on cotton paper, 1/5
78 x 65 cm

14. Metallic Structure, Calangute, Goa
Digital print on cotton paper, 1/5
78 x 65 cm

15. Shree Jagajyoth Basaveshwa Monumental Head Statue Head Statue, Bhishma Lake, Gadag, Karnataka
Digital print on cotton paper, 1/5
78 x 65 cm

16. Furniture Cemetery, Ghaziabad, New Delhi, Uttar Pradesh
Digital print on cotton paper, 1/5
78 x 65 cm

17. Sky Park Billboard, Belgaum, Karnataka
Digital print on cotton paper, 1/5
78 x 65 cm

18. Taraporewala Aquarium, Mumbai, Maharashtra
Digital print on cotton paper, 1/5
78 x 65 cm

19. Residential Area, Ahmedabad, Gujarat
Digital print on cotton paper, 1/5
78 x 65 cm

20. Science City, Ahmedabad, Gujarat
Digital print on cotton paper, 1/5
78 x 65 cm

21. Their Holiness Gyalwang Drukpa & Stangtsang Raspa, Indus Valley Road, Ladakh-Jammu
Digital print on cotton paper, 1/5
78 x 65 cm

22. Town Fair, Ahmedabad, Gujarat
Digital print on cotton paper, 1/5
78 x 65 cm

23. Urban Ducks, Pondicherry, Tamil NaduLadakh- Jammu
Digital print on cotton paper 1/5
78 x 65 cm

24.. Rush Hour, Bangalore, Karnataka
Digital print on cotton paper, 1/5
78 x 6

25. Superman, Bangalore, Karnataka
Digital print on cotton paper, 1/5
78 x 65 cm
26. Tea Plantation, Idukki, Kerala
Digital print on cotton paper, 1/5
78 x 65 cm

27. Moonrise, Mumbai-Pune Road, Maharashtra
Digital print on cotton paper, 1/5
78 x 65 cm

28. Vitthala Temple Road, Hampi, Karnataka
Digital print on cotton paper, 1/5
78 x 65 cm

29. Room 12, Bramheswar Temple Hotel, Omkareshwar, Madhya Pradesh
Digital print on cotton paper, 1/5
78 x 65 cm

30. Neelam Movie Theatre -by Le Corbusier-, Chandigarh, Haryana-Punjab
Digital print on cotton paper, 1/5
78 x 65 cm

31. Palace of Assembly -by Le Corbusier-, Chandigarh, Haryana-Punjab
Digital print on cotton paper, 1/5
78 x 65 cm

32. Brahmin’s House, Chidambaram, Tamil Nadu
Digital print on cotton paper, 1/5
78 x 65 cm

33. Navaratri Idols' Workshop Potter, Kumartuli, Kolkota, West Bengal
Digital print on cotton paper, 1/5
78 x 65 cm

34. Man with Clay Masque, Bow Bazar, Kolkota, West Bengal
Digital print on cotton paper, 1/5
78 x 65 cm

36. Kartik's Head, Durga Puja Pandal, Kolkota, West Bengal
Digital print on cotton paper, 1/5
78 x 65 cm

37. Gurdial Singh, -Head Operator of Neelam Movie Theatre- Chandigarh, Haryana-Punjab
Digital print on cotton paper, 1/5
78 x 65 cm

38. The Groom, Wedding by the Bangalore-Mysore Road, Karnataka
Digital print on cotton paper, 1/5
78 x 65 cm

39. Chowpatty Beach, Mumbai, Maharashtra
Digital print on cotton paper, 1/5
78 x 65 cm

40. Sadhu, Shirdi, Maharashtra
Digital print on cotton paper, 1/5
78 x 65 cm

39. Stupas, Leh, Ladakh-Jammu
Digital print on cotton paper, 1/5
78 x 65 cm

41. Man at Roof Top, Brahmapur, Odisha
Digital print on cotton paper, 1/5
78 x 65 cm

42. Bus Station, Udaipur, Rajasthan
Digital print on cotton paper, 1/5
78 x 65 cm

43. Mrs. Chandrakanta, Mehrangarh Fort, Jodhpur, Rajasthan
Digital print on cotton paper, 1/5
78 x 65 cm

44. Aravan's Brides, Koovagam, Tamil Nadu
Digital print on cotton paper, 1/5
78 x 65 cm

45. Asylum, Adpur-Palitana Road, Gujarat
Digital print on cotton paper, 1/5
78 x 65 cm

46. Mademoiselle O'Murphy's Room, Kochi, Kerala
Digital print on cotton paper, 1/5
78 x 65 cm

47. Transgender, Playground, Mysore, Karnataka
Digital print on cotton paper, 1/5
78 x 65 cm

48. The Bramin's Son, Chidambaram, Tamil Nadu
Digital print on cotton paper, 1/5
78 x 65 cm

49. Friends, Calangute Beach, Goa
Digital print on cotton paper, 1/5
78 x 65 cm

50. Ganesh Chaturthi, Narmada River Ghat, Maheshwar, Madhya Pradesh
Digital print on cotton paper, 1/5
78 x 65 cm

 

 

Download: India 50-50 Catalogue-Book Sample PDF

 


        


Lambda print mounted on plexiglass / edition of 5 / 50 x 1.32 m

Transcapes

 Virgen de las Huacas, Lima, Peru, 2008

A series of seventeen photographs of transvestites and transexuals portrayed in their hometown, where the apparently altered landscape is transformed in a single panoramic vision.

 

   

 

Museums & Galleries

Literacies and  Sexualities
The Helix
Curator: Jean-Philippe Imbert
Dublin, 2015

The Hidden Mother
Atelier Rouart
Curators: Sinziana Ravini & Estelle Benazet
Paris, 2012

México Arte Contemporáneo (MACO)
Mexico City Contemporary Art Fair
Mexico City, 2010

Arte Pará 
Curator: Orlando Maneschy
Belem de Pará, Amazons, Brazil, 2009

Museo Travesti del Peru
Guseppe Campuzano
Institute of Developement Studies, first edition, 2008
ISBN: 978-9972-33-588-4

 

 

 

Vanessa_LaceyWaterford_2015

Vanessa LaceyWaterford, Ireland, 2014

 

Materia de Aurorita, Espinazo, Nuevo Léon, Mexico_web

 Materia de Aurorita, Espinazo, Nuevo León, 2003

 

Coca_Nola_New_Orleans_web

 Coca Nola, New, Orleans, 2015

 

Henrietta, Miami Beach, Miami, USA, 2012.  Chromogenic print mounted on plexiglass / edition of 5 / 50 x 135 cm

HenriettaMiami Beach, 2012

Artwork List & Technical Specifications

 

Photographs (edition of 5)

1.Virgen de las Huacas, Lima, Peru, 2008
Lambda print mounted on plexiglass,
50 x 138 cm                                                                                                                               

2. Vanessa Lacey, Waterford, Ireland, 2014 
Lambda print mounted on plexiglass,
50 x 138 cm

3. Materia de Aurorita, Espinazo, Nuevo León, 2003
Lambda print mounted on plexiglass,
50 x 138 cm

4. Coca Nola, New, Orleans, 2015
Lambda print mounted on plexiglass,
50 x 138 cm

5. Henrietta, Miami Beach, 2012
Lambda print mounted on plexiglass,
50 x 138 cm