SERGIO PREGO 00 PARED ABULTADA 10.05 / 20.06.2014
OO pared abultada es una serie de dibujos basados principalmente en dibujos de campo y especímenes botánicos del Museo de historia natural
de Nueva York. Los dibujos a su vez están contenidos dentro de un dispositivo protector compuesto por una membrana neumática traslúcida
con las dimensiones del perímetro de cada plano de la pared. El plástico que compone la membrana determina una forma convexa a modo
de abultamiento de la pared. La translucidez de la membrana desdibuja el contorno de los dibujos parcialmente dependiendo de su localización.
La percepción de los dibujos va desde una especie de desenfoque en aquellos dibujos que se encuentran en partes de la membrana se encuentra
mas cerca del dibujo, a prácticamente desaparecer detrás de la membrana en aquellas zonas en la que la panza es mas pronunciada y se separa
más del dibujo. Los dibujos están organizados por grupos en los que los motivos están distribuidos espacialmente definiendo una serie de figuras como los propios especímenes que representan. Sin embargo la membrana translúcida, en un gesto iconoclasta, dificulta su percepción generando confusión en la definición del propio motivo de contemplación del trabajo, dirigiendo la atención hacia aquello que precisamente no podemos
ver. ¿Cuál es el sentido de una serie de dibujos especificamente ordenados detrás de una membrana que nos impide verlos?
Algunos dibujos están realizados por medio de un compas que ejecuta paralelas que definen elementos tubulares a partir de un único trazo
y por tanto determinan formas orgánicas de una realidad material. Algunos dibujos definen líneas que al cerrarse sobre si mismas van delimitando una serie de figuras. La definición de una área por medio de una línea funciona como una membrana en la definición del adentro y el afuera
y la gestión de la relación entre en interior y exterior. Esta seria la función básica que define tanto un órgano como un organismo y por tanto
de lo orgánico.
Los motivos botánicos responden a la voluntad de búsqueda la estructura orgánica de los vegetales relacionada con la propia plasticidad
de la materia que los compone. En esta problemática resuena un planteamiento en torno a la idea de belleza de una tradición idealista ligado
a la búsqueda de estructuras formales genéricas como camino al descubrimiento de la ley natural y por tanto del conocimiento. Sin embargo la propia problemática de su representación material es mas fiel a la irregularidad de los especímenes concretos, especialmente evidente en aquellos motivos que se encuentran en un estado de descomposición y que resuenan en la irregularidad gestual con la que han sido ejecutados. La necesidad
de ser fiel a esa realidad material se fundamenta en el sistema valores de la tradición materialista que ha definido gran parte de las formas
de representación contemporáneas. Los dibujos basculan entre estos dos polos que se antojan opuestos.
00 pared abultada (00 bulging wall) is a series of drawings based primarily on field drawings and botanical specimens from the Museum of Natural History in New York. The drawings are in turn contained within a protective device that consists of a translucent pneumatic membrane that covers
the entire surface of each wall. The plastic membrane forms a convex shape, which bulges out of the wall. The translucency of the membrane blurs
the outlines of the drawings, to a greater or lesser extent, depending on where the viewer stands. The perception of the drawings goes from a vague blurring (for drawings that are in parts of the membrane which are closer to the drawing) to virtually disappearing behind the membrane (the areas
in which the bulge is more pronounced and is further away from the drawing). The drawings are organized in groups in which the motifs
are distributed spatially, defining a series of figures like the specimens they themselves represent. However, the translucent membrane,
in an iconoclastic gesture, hinders our perception of the drawings; this causes confusion when defining the motive of contemplating of the work,
and draws attention precisely to what we cannot see. What is the meaning of a series of drawings specifically arranged behind a membrane
that prevents us from seeing them?
Some drawings are put together using a bar which makes parallel lines, defining tubular elements from a single line and thus determining the organic forms of a material reality. Some of the drawings contain lines which close in on themselves and in doing so, define a series of figures. The definition of an area by using a line functions like a membrane: this defines an inside and an outside and manages the relationship between interior
and exterior. This would be the basic function that defines both an organ and an organism and therefore, the organic.
Botanical motifs respond to the desire to search for the organizational structure of plants, related to the very plasticity of the material that they
are composed of. In this idea there is a reflection on the idea of beauty from an idealistic tradition, linked to the pursuit of generic formal structures as a path to the discovery of natural laws and therefore of knowledge. However, the problems encountered in their own material representation
are more faithful to the very irregularity of the concrete specimens, especially evident in those subjects that are in a state of decomposition
and that draw attention to the irregular gestures with which they have been executed. The need to be true to that material reality is based
on the value system of the materialist tradition that has defined much of contemporary forms of representation. The drawings oscillate between these apparently opposite poles.
the entire surface of each wall. The plastic membrane forms a convex shape, which bulges out of the wall. The translucency of the membrane blurs
the outlines of the drawings, to a greater or lesser extent, depending on where the viewer stands. The perception of the drawings goes from a vague blurring (for drawings that are in parts of the membrane which are closer to the drawing) to virtually disappearing behind the membrane (the areas
in which the bulge is more pronounced and is further away from the drawing). The drawings are organized in groups in which the motifs
are distributed spatially, defining a series of figures like the specimens they themselves represent. However, the translucent membrane,
in an iconoclastic gesture, hinders our perception of the drawings; this causes confusion when defining the motive of contemplating of the work,
and draws attention precisely to what we cannot see. What is the meaning of a series of drawings specifically arranged behind a membrane
that prevents us from seeing them?
Some drawings are put together using a bar which makes parallel lines, defining tubular elements from a single line and thus determining the organic forms of a material reality. Some of the drawings contain lines which close in on themselves and in doing so, define a series of figures. The definition of an area by using a line functions like a membrane: this defines an inside and an outside and manages the relationship between interior
and exterior. This would be the basic function that defines both an organ and an organism and therefore, the organic.
Botanical motifs respond to the desire to search for the organizational structure of plants, related to the very plasticity of the material that they
are composed of. In this idea there is a reflection on the idea of beauty from an idealistic tradition, linked to the pursuit of generic formal structures as a path to the discovery of natural laws and therefore of knowledge. However, the problems encountered in their own material representation
are more faithful to the very irregularity of the concrete specimens, especially evident in those subjects that are in a state of decomposition
and that draw attention to the irregular gestures with which they have been executed. The need to be true to that material reality is based
on the value system of the materialist tradition that has defined much of contemporary forms of representation. The drawings oscillate between these apparently opposite poles.