St. George 2000, The Disasters of the Mind, Dionysius Strikes Back!, Macrocosmic Rosary, The Watcher. Silkscreens on inflatable vinyl, plasticine, goat skin, epoxy, etching,
Installations VM 410x 300x 350cm Average, Etchings 67x 89 cm, 2000
Installations VM 410x 300x 350cm Average, Etchings 67x 89 cm, 2000
The Altar of My Heart, Hercules, Learning to Fly, Narcissus, Ecce Homo, Someone is About to Betray Me, St. Francis,
Lambda prints and paint on acetate and photographic paper, 150x 137cm average, 2000
Lambda prints and paint on acetate and photographic paper, 150x 137cm average, 2000
Archetypes (1997-2000)
In Jungian terms Archetypes are ancient mental images inherent to our innermost unconscious structures which have been shared and represented differently by many cultures throughout time. These structures have shaped our beliefs, religions, interactions, social roles and ideals while remaining vivid in new narrative forms such as films, novels, advertisement...
In a contemporary society where our unconscious desires are triggered and shaped for commercial reasons, there is little room for the exploration of our psyche, narrowing our access to experience more profound interactions with the world around us, a deeper perception and sense of meaning. The will of the individual is reduced to become a mere consumer, numbing our human potential with a false sense of fulfilment in the endless acquirement of commercial goods.
Archetypes aims to expose this numbing effect of popular mass culture and to reveal through reinterpreting these archaic narratives their validity. The goal is to show how even when we use them removed from their sacred dimensions they still can have a powerful impact in our being. Highly gloss enlarged photographs of plasticine models and large sculptures, cut outs from magazines and advertisements turned into large inflatable silkscreens or paintings on acetates presented as installations, explore and blur the space between the second and the third dimension.
Two dimensional images become three dimensional sculptures and installations and three dimensional sculptures become flattened images. The intention is to bridge the separation between these dimensions alongside time, to frame these works within an illusory dream like/parallel dimension of our psyche where these ancient myths and reinterpreted narrations may inhabit.
Direct references to Caravaggio and Goya are made in titles and compositions with the intention of enhancing the timeless psychological dimension of the Archetype. Titles such as “The Disasters of the Mind/ Series” point to our everyday state of inner conflict, a psychological struggle to integrate our Shadow in an individual and social level.
In a contemporary society where our unconscious desires are triggered and shaped for commercial reasons, there is little room for the exploration of our psyche, narrowing our access to experience more profound interactions with the world around us, a deeper perception and sense of meaning. The will of the individual is reduced to become a mere consumer, numbing our human potential with a false sense of fulfilment in the endless acquirement of commercial goods.
Archetypes aims to expose this numbing effect of popular mass culture and to reveal through reinterpreting these archaic narratives their validity. The goal is to show how even when we use them removed from their sacred dimensions they still can have a powerful impact in our being. Highly gloss enlarged photographs of plasticine models and large sculptures, cut outs from magazines and advertisements turned into large inflatable silkscreens or paintings on acetates presented as installations, explore and blur the space between the second and the third dimension.
Two dimensional images become three dimensional sculptures and installations and three dimensional sculptures become flattened images. The intention is to bridge the separation between these dimensions alongside time, to frame these works within an illusory dream like/parallel dimension of our psyche where these ancient myths and reinterpreted narrations may inhabit.
Direct references to Caravaggio and Goya are made in titles and compositions with the intention of enhancing the timeless psychological dimension of the Archetype. Titles such as “The Disasters of the Mind/ Series” point to our everyday state of inner conflict, a psychological struggle to integrate our Shadow in an individual and social level.