tag:blogger.com,1999:blog-64362958987441572152024-03-08T09:54:26.078-08:00MARIA JOSE GOMEZ REDONDOMaría José Gómez Redondohttp://www.blogger.com/profile/15906894403834782693noreply@blogger.comBlogger17125tag:blogger.com,1999:blog-6436295898744157215.post-19382559961109442422023-08-17T03:17:00.004-07:002023-08-17T03:22:01.977-07:00 Archaeology of the invisible.<p>Since our childhood we have been attracted to empty mansions, places that show in their ruins the remains of their former uses, places inhabited by treasures and ghosts. I remember having visited powerful places of industrial archaeology in Segovia, old brick factories, electricity factories, photographic laboratories or the Faience Factory, all of them empty and open to adolescent curiosity.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEKexxtNmTrJLXwLC4xMtmGEaq1gufenb18r8EWLUcYVyERXASnCwz-x6-hux7zgenyriZ2pRIJqiEaBYwuytUtV7JwUXLTMZ1x45rp3lHquAytmHihWhaOHoof6UAv-_LghHujsqTcor00_5c4h-pgAfYzu6fH5rpob0cIr0gxcO_a2iT8-bITZ6mBQ/s4000/20230812_203910%20copia.heic" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2250" data-original-width="4000" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEKexxtNmTrJLXwLC4xMtmGEaq1gufenb18r8EWLUcYVyERXASnCwz-x6-hux7zgenyriZ2pRIJqiEaBYwuytUtV7JwUXLTMZ1x45rp3lHquAytmHihWhaOHoof6UAv-_LghHujsqTcor00_5c4h-pgAfYzu6fH5rpob0cIr0gxcO_a2iT8-bITZ6mBQ/s320/20230812_203910%20copia.heic" width="320" /></a></div><br /><p><br /></p><p>I still have some of the treasures I found there: an architect's tape measure, some negatives of military photographs on gelatine and glass.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSEBLunN2CB-yFTBKSVb0q0Xi2DuJpCSDIL8QrXmHANmmuejFTNQ5shEQZsqTczWkoJunJTw5dYGrBdak_BIXztz7ccVQwH8fhcqMDW5QH58QrYYYhllmi2iUe2nMBSYly1dp27DgenC27tGLkY2rObq3BdUUtw3v4RS5a8uhEIvvTZeOAWCDdmtcq7A/s4000/20230812_125745.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2250" data-original-width="4000" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSEBLunN2CB-yFTBKSVb0q0Xi2DuJpCSDIL8QrXmHANmmuejFTNQ5shEQZsqTczWkoJunJTw5dYGrBdak_BIXztz7ccVQwH8fhcqMDW5QH58QrYYYhllmi2iUe2nMBSYly1dp27DgenC27tGLkY2rObq3BdUUtw3v4RS5a8uhEIvvTZeOAWCDdmtcq7A/s320/20230812_125745.jpg" width="320" /></a></div><br /><p><br /></p><p>I also remember my desire to photograph ghosts with long shutter exposures in places lit by torchlight.</p><p>This space of the abattoir of Monzón de Campos is a space saved from collapse as were not those others, which I remember with the affection reserved for an old acquaintance. However, this space is also open to memory. Elements of industrial archaeology emerge, questioning its new use, this new coexistence with art, which always allows us to invoke what is outside our limits.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixc3ei-r3-S0IJvkbQyNQSp-6cbiyPBXCeZjE3YlkNTGFP20Ls7uIAbC7toWii4PD7k2e0xJ8Fv2qpvACdn0boPZSIdRDta1hx77cH4rGkiAlxSpq2FcaxYcjI3HpE1AS5XQUq1yCe6h9wBpOgRz5XvtSeSHWEis_980hbkVwbr6_800D5tbeJLK9TSA/s2499/20230812_130109.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1734" data-original-width="2499" height="222" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixc3ei-r3-S0IJvkbQyNQSp-6cbiyPBXCeZjE3YlkNTGFP20Ls7uIAbC7toWii4PD7k2e0xJ8Fv2qpvACdn0boPZSIdRDta1hx77cH4rGkiAlxSpq2FcaxYcjI3HpE1AS5XQUq1yCe6h9wBpOgRz5XvtSeSHWEis_980hbkVwbr6_800D5tbeJLK9TSA/s320/20230812_130109.jpg" width="320" /></a></div><br /><p><br /></p><p>Collage as an artistic technique is both a tool of destruction and creation; it is the first attempt at sustainable, recycled art. These stones are assemblages of images on building rubble that are placed on the ground to invent a future or a past time. </p><p>Nature occupies the artificial space when people leave, which is why I look down on this room, which could be invaded by the countryside around it. The tiles show us a space that wants to look clean, as opposed to the dirt that comes from the beings that live and die. The ceramics have that air of improved nature that does not resist returning to the earth, but retains the brightness of what was once its function.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvzdN7zLd5aAxY6HFuuhJexHKa19Pnx68UNMaEhYIO94hHa88EiuZ-Q4U-I5piP3OyOOG2N7XS3bED8KcVArCPTX_HYnXpoaFNGV34cfSHsYAMUOedA5EoJ3QPvvCZDOsscFadEMJ9W3jAVMHdIwvdICQVnKXKjHqmdci9i9b0nTTtTQD0we9wZosj7Q/s4000/20230813_110951.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2250" data-original-width="4000" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvzdN7zLd5aAxY6HFuuhJexHKa19Pnx68UNMaEhYIO94hHa88EiuZ-Q4U-I5piP3OyOOG2N7XS3bED8KcVArCPTX_HYnXpoaFNGV34cfSHsYAMUOedA5EoJ3QPvvCZDOsscFadEMJ9W3jAVMHdIwvdICQVnKXKjHqmdci9i9b0nTTtTQD0we9wZosj7Q/s320/20230813_110951.jpg" width="320" /></a></div><br /><p><br /></p><p>I pick up rationalist squares from the tiled walls to frame my family ties like those traced in white kitchens and bathrooms like this room.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbGbiUrsAeWkmegThzO5o0QJKeIIXAsEcDdI0zUc_vcbqlQ55RsZlArjamhA4JKqzjyL7kPnvC37KbHlt0Gs0nYiFtrNhZy0XpVWwqLxLEbMEy5G9w5KfjtZXm5oCHo6PfLF1wPnYOSAr0gnnKISPPvtpCtvti9FOsevFfmqdb3VEI7dcM13GcvKMaTg/s4000/20230812_203800.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2250" data-original-width="4000" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbGbiUrsAeWkmegThzO5o0QJKeIIXAsEcDdI0zUc_vcbqlQ55RsZlArjamhA4JKqzjyL7kPnvC37KbHlt0Gs0nYiFtrNhZy0XpVWwqLxLEbMEy5G9w5KfjtZXm5oCHo6PfLF1wPnYOSAr0gnnKISPPvtpCtvti9FOsevFfmqdb3VEI7dcM13GcvKMaTg/s320/20230812_203800.jpg" width="320" /></a></div><br /><p><br /></p><p>I enjoy working with photographs as representations of something and as objects in themselves. Their deterioration becomes a metaphor for the passage of time, oblivion and memory. I recycle images, phrases, poems, creating new texts, initially separated from a linear narrative. These ethereal photographs recover fragments of printed media. I did this to construct pictorial poems that subtly reflect the excesses of contemporary visual culture. In my case, my work reflects my self-representations over time and my aging process. The blackboards, paradoxically, look to me like paleolithic mobile screens with their social media messages.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWb_U4hFQ033IVYk5sDOfDtWul6o-7Jq4__MlNCeePwi0Xwd7ddAevNXKpOVHPfKTQl4tKvkbyUpMb5-GKdn2pwk0uCY5CT47k-WDiYSx8P9wtk7hPV1zIODVZc6dHYQGkK_Lan-YshWZnK3qRVyyXcg-9Fl5sefJbUC8BCOHlxj6u7eZQY4NA5k_WOg/s2637/20230812_194220.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2250" data-original-width="2637" height="273" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWb_U4hFQ033IVYk5sDOfDtWul6o-7Jq4__MlNCeePwi0Xwd7ddAevNXKpOVHPfKTQl4tKvkbyUpMb5-GKdn2pwk0uCY5CT47k-WDiYSx8P9wtk7hPV1zIODVZc6dHYQGkK_Lan-YshWZnK3qRVyyXcg-9Fl5sefJbUC8BCOHlxj6u7eZQY4NA5k_WOg/s320/20230812_194220.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmPUOkzFOJ3lbMsVvnNmmKk5gLgoG92xd_bbNP9hg0A043JW1Qkcdxri_YcO6Q8mIC-6EzWyO4hp56gH9LHuFj64-UpcUU5x47fWatdGkqbhTDziU9CL65WXHCnBHuxhPqXQx5I2oBa-IkrSdT-sey-qq1IL35Dr6SQofiurHWliHSKMwmqDwooAf7xQ/s1955/IMG_20230812_175055_640.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1836" data-original-width="1955" height="301" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmPUOkzFOJ3lbMsVvnNmmKk5gLgoG92xd_bbNP9hg0A043JW1Qkcdxri_YcO6Q8mIC-6EzWyO4hp56gH9LHuFj64-UpcUU5x47fWatdGkqbhTDziU9CL65WXHCnBHuxhPqXQx5I2oBa-IkrSdT-sey-qq1IL35Dr6SQofiurHWliHSKMwmqDwooAf7xQ/s320/IMG_20230812_175055_640.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoRTinAM2qcbEWE1FfQHhkNHWyxvlGAaxgBpW0_Lovx1fFnFyZmK2OfYNh8A3lQ3x30t7q5BC8swbJzZ2fWTvKHUwOu8qc3AfrEyYJ4PAyb5TPtdCg174qwwX65fG4lbpk56nqAqjeWjkhsUUuKq_qU9TgDBpKueKjXvv3R_OnzvGfn346gK_l23QoHQ/s2048/366706419_679661857535534_5453447389991837483_n.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1448" data-original-width="2048" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoRTinAM2qcbEWE1FfQHhkNHWyxvlGAaxgBpW0_Lovx1fFnFyZmK2OfYNh8A3lQ3x30t7q5BC8swbJzZ2fWTvKHUwOu8qc3AfrEyYJ4PAyb5TPtdCg174qwwX65fG4lbpk56nqAqjeWjkhsUUuKq_qU9TgDBpKueKjXvv3R_OnzvGfn346gK_l23QoHQ/s320/366706419_679661857535534_5453447389991837483_n.jpeg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://nexodos.art/sentirse-periferia-mientras-maria-jose-gomez-redondo/" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img alt="" data-original-height="48" data-original-width="850" height="18" src="https://blogger.googleusercontent.com/img/a/AVvXsEisfPd5nb2IhCWazsLsy9Mn5RbnkUAFQyRitn6KQ2sIGQ_qSftZr3KtZx2dTub9ICz1pKbYdXeKgC2Fxmpw8jgRh6J7aEp6-tB9FG65fkToeqxbdMT-IORpVxDTDrKU_vhTsIGtzvBbbhweW-MKm69hWjbcnvLE_LAjbjoZIqIteke7waDyXZr_obejrA" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://sites.google.com/view/maria-jose-gomez-redondo/Home" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img alt="" data-original-height="96" data-original-width="850" height="36" src="https://blogger.googleusercontent.com/img/a/AVvXsEiqfOV2b44O_JKWOpx6aLXXK0O6qu3u2JGv4-OfENJCJQp_tkk-1cxSwhxOvpwHepeqbxpcC_ZTM3zYRSLz4c-yFgquTGj3xZTP4lNK62CjN6CXqzbtZbUwrqx73wFkAAn-2XcTyfUEot_uNqqxYBCe6yjYb3hhKV8KaXMnJ1d5VDVpUTmVpzxZZ314JQ" width="320" /></a></div><br /><br /><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><p><br /></p><p><br /></p>María José Gómez Redondohttp://www.blogger.com/profile/15906894403834782693noreply@blogger.com0tag:blogger.com,1999:blog-6436295898744157215.post-16780509487328875622022-08-14T03:47:00.008-07:002022-09-07T13:09:43.596-07:00Vertical garden<p> Vertical garden, Maria Jose Gomez Redondo September 2022</p><p></p><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: left;"><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;">Being all expelled from Paradise, we miss the garden and grow another to keep it in the human sphere; it offers us found rest through a piece of nature contact.</span></div><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;">Maria Jose Gomez Redondo fits her vertical garden to enjoy limited vegetation and isolated from its environment, which is offered to observation meanwhile growing to assume the difficulties of a hostile location. This artwork represents a humanized jungle gifted with an odd disposition that depicts a map or a drawing made for contemplation.</span></div></div><div class="separator" style="clear: both; text-align: justify;">She presents photographs made in several supports: fabric, collage in which printed, dyed, and photochemical images, they are mixed and showing us a close-up panorama from the recent years of the artist.</div><div class="separator" style="clear: both; text-align: left;">Water Flowers (2013- 2022) is a collage series that roll us back to childhood games: these flowers seem to dance floating in a pond with many reflections; colourful rainbows that we had seen for the first time in an oil stain in a puddle.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUUklEihQ4_wjQ0J6Ju7a1yKub2KDylh-AU7mGdvZwacG4zOc2EkkRNVxONhYGFtqUrwUiUShtnNgKMSeHXqXmcSW6_Cn9RY5o5xI2xrbAivR3NJsH6dvafPFqUNmUPD8vSpA2dIFDwXfSW0zE-tXg1TbgqeIHHor7c3E2U79NeftxtTZkXayEWus/s487/Captura%20de%20pantalla%202022-06-19%20a%20las%2012.34.58.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="487" data-original-width="340" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUUklEihQ4_wjQ0J6Ju7a1yKub2KDylh-AU7mGdvZwacG4zOc2EkkRNVxONhYGFtqUrwUiUShtnNgKMSeHXqXmcSW6_Cn9RY5o5xI2xrbAivR3NJsH6dvafPFqUNmUPD8vSpA2dIFDwXfSW0zE-tXg1TbgqeIHHor7c3E2U79NeftxtTZkXayEWus/s320/Captura%20de%20pantalla%202022-06-19%20a%20las%2012.34.58.png" width="223" /></a></div><br /><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Shadow Flowers (2021) is a seven photograph series made on fabric in which small stems appear to wave in sheets wrapping themselves in their own shadow; they are winter pictures where the darkness looks for artificial light causing a mystery sensation.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZCPI6QfmDWDPCl2qfzI2U0vh5_65uQdq-b_fRXyiGx4wpgjjbt0gdZCvVnfO77lqkHn08phFhR-oocdGm17wpDpWpV8LF8xQXOuhVF4epGD8TSX98gPJo-BfjSshWF7ZAgEjJdiqSnMAaPZNn3XStQM8cCWdwhptnlnga27G_zuHlUe9wT66XBTY/s497/Captura%20de%20pantalla%202022-06-19%20a%20las%2012.36.08.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="497" data-original-width="340" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZCPI6QfmDWDPCl2qfzI2U0vh5_65uQdq-b_fRXyiGx4wpgjjbt0gdZCvVnfO77lqkHn08phFhR-oocdGm17wpDpWpV8LF8xQXOuhVF4epGD8TSX98gPJo-BfjSshWF7ZAgEjJdiqSnMAaPZNn3XStQM8cCWdwhptnlnga27G_zuHlUe9wT66XBTY/s320/Captura%20de%20pantalla%202022-06-19%20a%20las%2012.36.08.png" width="219" /></a></div><br /><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Paper Flowers (2005) are collages that review the photographic image condition; the flowers suffer a mix of re-photographic processes: They became from natural to artificial living in a parallel reality like Bioy Casares’ short story “la invención de Morel.”</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKZHfbpL-BuzcM9-nWn0ezyYJtg2hToHUOJL8IXWY120fGOLx4YEjiDFrkqWI2_hVAT1zwg_rlt-ocE-A5x87rwjAYEAPHCjqbHxrDDdRfgAvCgeQIAQkFHzF9MFuCXkXlzpoWSHGQBUwzBD6IlhTokIvxh7s3TP90AHceRTyPj8F_T3MXUWSiejg/s1600/Flor%20de%20mimosa%20roja%20por%20la%20tarde.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1302" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKZHfbpL-BuzcM9-nWn0ezyYJtg2hToHUOJL8IXWY120fGOLx4YEjiDFrkqWI2_hVAT1zwg_rlt-ocE-A5x87rwjAYEAPHCjqbHxrDDdRfgAvCgeQIAQkFHzF9MFuCXkXlzpoWSHGQBUwzBD6IlhTokIvxh7s3TP90AHceRTyPj8F_T3MXUWSiejg/s320/Flor%20de%20mimosa%20roja%20por%20la%20tarde.jpg" width="260" /></a></div><br /><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Vertical Garden: Winter and summer (2021) are two mural photographs printed on fabric, on which the artist self-portraits in her vertical garden as a background curtain; she offers us a theatrical garden that impersonates to be a forest; she prepared a grove to turn into a playground and imaginary encounters.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKuI1K18-60RAGfoep7n59KQQRnordhKiC0QR4mGVw0pf2S14yW9XzvbhTmiqA1AN6T2o4QgMbLsaaCDS-ykCrU3FGuYfx9EHx0LQX2043W5AVS0vOdvKvru3RuC308kZLm8Fa_oEiS6wiluHrwvmov9u3OOdds3oj8uxLIe5lLbnpdDPxfmFngu0/s1926/Captura%20de%20pantalla%202022-06-25%20a%20las%2011.07.02.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="726" data-original-width="1926" height="206" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKuI1K18-60RAGfoep7n59KQQRnordhKiC0QR4mGVw0pf2S14yW9XzvbhTmiqA1AN6T2o4QgMbLsaaCDS-ykCrU3FGuYfx9EHx0LQX2043W5AVS0vOdvKvru3RuC308kZLm8Fa_oEiS6wiluHrwvmov9u3OOdds3oj8uxLIe5lLbnpdDPxfmFngu0/w544-h206/Captura%20de%20pantalla%202022-06-25%20a%20las%2011.07.02.png" width="544" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><a href="https://sites.google.com/view/maria-jose-gomez-redondo/Home" target="_blank"><br /></a><div class="separator" style="clear: both; text-align: left;"><a href="https://sites.google.com/view/maria-jose-gomez-redondo/Home" target="_blank">More information</a></div><div style="text-align: left;"><br /></div></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidp7DLh_vsmS4EpO8zclBGTYyEErCVwGHN4DnhBOYdipOyswRHQcokYl29CNi6h3IuWzYeKo6pndK86zGueqw37LDNqffWUixn2Zfg-kFpZkTYAl4hXRxtX_NdEaMtsrYGmQkA0AgnuOt27JQMDiCZoc25Btufw9qt8UpAtzljqXs-YcrVRVJzrzI/s1868/Captura%20de%20pantalla%202022-06-25%20a%20las%2011.07.53.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="706" data-original-width="1868" height="207" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidp7DLh_vsmS4EpO8zclBGTYyEErCVwGHN4DnhBOYdipOyswRHQcokYl29CNi6h3IuWzYeKo6pndK86zGueqw37LDNqffWUixn2Zfg-kFpZkTYAl4hXRxtX_NdEaMtsrYGmQkA0AgnuOt27JQMDiCZoc25Btufw9qt8UpAtzljqXs-YcrVRVJzrzI/w548-h207/Captura%20de%20pantalla%202022-06-25%20a%20las%2011.07.53.png" width="548" /></a></div><br />María José Gómez Redondohttp://www.blogger.com/profile/15906894403834782693noreply@blogger.com0tag:blogger.com,1999:blog-6436295898744157215.post-53000384309814298602020-08-25T04:17:00.006-07:002021-03-30T03:39:03.339-07:00The verses glued to the eyes.<p><br /></p><p>"The invisible is not dark or the mysterious but the transparent" Marcel Duchamp in "Naked appearance"by Octavio Paz.</p><p>Some times our words transform what we see. It is as if we carry them glued to our eyes.</p><p>A word linked to a part of the image with a thin connection, associated with others, is a metaphor.</p><p> Sometimes the sentences hide reality, but others show it twisted like a cord.</p><p>In this last work, I resort to horizontal compositions where my face and hand appear connected in a diffuse space reproduced by double photographic exposure and digital mixing of texts and images.</p><p> I will arrange the photos in a future montage online. To be able to be contemplated some superimposed on others.</p><p>Using these semitransparent fabrics, I have resorted to experimenting with overprinted visualization. I had experienced before using other means: double exposure, glossy finishes that emit reflections, and collages with prints made on waxed paper. However, I had never previously exhibited any wall photos printed on a veil.</p><p>This piece has a good view of the rear even though we are not able to read it. I have the project of making an exhibition of this work next year.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-SRl2VVnsFW0/X0TwQbmkbAI/AAAAAAAAO60/WjCwaodNb_oGBGZXy9H1wJQLWvGehSKqgCLcBGAsYHQ/s2048/versos.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1431" data-original-width="2048" height="279" src="https://1.bp.blogspot.com/-SRl2VVnsFW0/X0TwQbmkbAI/AAAAAAAAO60/WjCwaodNb_oGBGZXy9H1wJQLWvGehSKqgCLcBGAsYHQ/w400-h279/versos.JPG" width="400" /></a></div><o:p></o:p><p></p><p class="MsoNormal" style="font-family: "Times New Roman"; margin: 0cm 0cm 10pt;">Verses glued to the eyes</p><p class="MsoNormal" style="font-family: "Times New Roman"; margin: 0cm 0cm 10pt;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-42UDOtxMo9I/X0TwaQKGNiI/AAAAAAAAO64/GFIllzySzHsYNBjLScY1M3UOSkXCinw0gCLcBGAsYHQ/s2048/puntadas.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1434" data-original-width="2048" height="280" src="https://1.bp.blogspot.com/-42UDOtxMo9I/X0TwaQKGNiI/AAAAAAAAO64/GFIllzySzHsYNBjLScY1M3UOSkXCinw0gCLcBGAsYHQ/w400-h280/puntadas.JPG" width="400" /></a></div><span lang="EN-US" style="background-color: white; background: white; color: #222222; font-family: Arial;"><br /></span><p></p><p class="MsoNormal" style="margin: 0cm 0cm 10pt;"><span style="font-family: Times New Roman;">Stitches in the clouds</span></p><p class="MsoNormal" style="font-family: "Times New Roman"; margin: 0cm 0cm 10pt;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-Na_EFG-Zn3Y/YGL-brNa_3I/AAAAAAAAQYA/jREQ4oG18JIf_aZcRLgu86yePvK4a6s-wCLcBGAsYHQ/s4512/los%2Bhilos%2Bdel%2Bpensamiento.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3000" data-original-width="4512" height="266" src="https://1.bp.blogspot.com/-Na_EFG-Zn3Y/YGL-brNa_3I/AAAAAAAAQYA/jREQ4oG18JIf_aZcRLgu86yePvK4a6s-wCLcBGAsYHQ/w400-h266/los%2Bhilos%2Bdel%2Bpensamiento.JPG" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;">threads of thought</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-spZqB4X1jxg/YGL_K0_WEzI/AAAAAAAAQYI/JCVSOrGCKuMueh4D8ISlH7lwYcbAuDTjACLcBGAsYHQ/s4512/se%2Bincendia%2Ben%2Bun%2Blugar.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3000" data-original-width="4512" height="266" src="https://1.bp.blogspot.com/-spZqB4X1jxg/YGL_K0_WEzI/AAAAAAAAQYI/JCVSOrGCKuMueh4D8ISlH7lwYcbAuDTjACLcBGAsYHQ/w400-h266/se%2Bincendia%2Ben%2Bun%2Blugar.JPG" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-38L5d1aZ3_I/YGL_bDwwYTI/AAAAAAAAQYQ/tVXcjQoPsn0lfp9WdZKTNMxJcz8c-ojmwCLcBGAsYHQ/s4512/tu%2Bpiel%2Bpor%2Bdentro.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3000" data-original-width="4512" height="266" src="https://1.bp.blogspot.com/-38L5d1aZ3_I/YGL_bDwwYTI/AAAAAAAAQYQ/tVXcjQoPsn0lfp9WdZKTNMxJcz8c-ojmwCLcBGAsYHQ/w400-h266/tu%2Bpiel%2Bpor%2Bdentro.JPG" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-gIkfoR9U0kQ/YGL_ujX4wxI/AAAAAAAAQYY/Gsr-55kMWPMB9GZPggbb6B_xn6bLlnb5QCLcBGAsYHQ/s4512/viva%2Bpero%2Bausente.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3000" data-original-width="4512" height="266" src="https://1.bp.blogspot.com/-gIkfoR9U0kQ/YGL_ujX4wxI/AAAAAAAAQYY/Gsr-55kMWPMB9GZPggbb6B_xn6bLlnb5QCLcBGAsYHQ/w400-h266/viva%2Bpero%2Bausente.JPG" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><span lang="EN-US" style="background-color: white; background: white; color: #222222; font-family: Arial;">this veiled image brings me to the memory of <a href="https://www.moma.org/audio/playlist/1/228" target="_blank">Doris Salcedo's work in the MOMA</a></span><p></p>María José Gómez Redondohttp://www.blogger.com/profile/15906894403834782693noreply@blogger.com0tag:blogger.com,1999:blog-6436295898744157215.post-78317867919258746202020-08-20T04:29:00.004-07:002021-01-01T03:10:01.602-08:00Verses on slates<p> <span style="background-color: white; color: #222222; font-family: Arial; font-size: 8pt;">Verses on slates:</span></p><p class="MsoNormal" style="font-family: "Times New Roman"; margin: 0cm 0cm 10pt;">This work began in 1999, and it has not finished yet.</p><p class="MsoNormal" style="font-family: "Times New Roman"; margin: 0cm 0cm 10pt;">I printed several photos and sentences over different kinds of paper and fabric and glued them over slates. I took these pieces from covering a roof. They are self-portraits pasted on my family members’ portraits.</p><p class="MsoNormal" style="font-family: "Times New Roman"; margin: 0cm 0cm 10pt;">I glued it in layers one over another, erased it partially by the time or rubbing. I have placed them to a fine-grained black metamorphic rock easily split into smooth, flat pieces. The images and support lose layers, like the text. It is stripped of words and seeks to complete its meaning with the other layers of phrases.</p><p class="MsoNormal" style="font-family: "Times New Roman"; margin: 0cm 0cm 10pt;"><br /></p><p class="MsoNormal" style="font-family: "Times New Roman"; margin: 0cm 0cm 10pt;">I enjoy working on photographs, considering them both as representations of something objects turn with their corporeity this way. Their deterioration becomes a metaphor for the passage of time, forgetting, and memory.</p><p class="MsoNormal" style="font-family: "Times New Roman"; margin: 0cm 0cm 10pt;">Visually they remind me of Rauschenberg’s transfer drawings. The artist recycles an American collective memory into alternative narratives disengaged from a linear history. These ethereal drawings reclaim scraps of printed media combined with hand-drawn and painted passages. I did it to make pictorial poems that subtly reflect the excesses of contemporary visual culture. In my case, my work would depict my self-representations along time and my aging process.<span style="background-color: white; color: #222222; font-family: Arial; font-size: 8pt;">.</span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-ziWzQPetVL4/Xz5edgUN--I/AAAAAAAAO6I/jRhYD0FlTRASqOGcLiObdUumB8fNJWxUgCLcBGAsYHQ/s2048/visite%25CC%2581%2Bla%2Baurora.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1408" data-original-width="2048" src="https://1.bp.blogspot.com/-ziWzQPetVL4/Xz5edgUN--I/AAAAAAAAO6I/jRhYD0FlTRASqOGcLiObdUumB8fNJWxUgCLcBGAsYHQ/s640/visite%25CC%2581%2Bla%2Baurora.jpg" width="640" /></a></div><o:p></o:p><p></p><p class="MsoNormal" style="font-family: "Times New Roman"; margin: 0cm 0cm 10pt;"><br /></p><p class="MsoNormal" style="font-family: "Times New Roman"; margin: 0cm 0cm 10pt;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-hZD2Te49coc/Xz5eoltBLWI/AAAAAAAAO6M/DCEptOdbegg63yZ7d7fOjQcotAfMAUY4QCLcBGAsYHQ/s2048/the%2Beyes%2Bare%2Bwitnesses.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1858" data-original-width="2048" src="https://1.bp.blogspot.com/-hZD2Te49coc/Xz5eoltBLWI/AAAAAAAAO6M/DCEptOdbegg63yZ7d7fOjQcotAfMAUY4QCLcBGAsYHQ/s640/the%2Beyes%2Bare%2Bwitnesses.jpg" width="640" /></a></div><span lang="EN-GB" style="background-color: white; background-position: initial initial; background-repeat: initial initial; color: #222222; font-family: Arial; font-size: 8pt;"><br /></span><p></p><p class="MsoNormal" style="font-family: "Times New Roman"; margin: 0cm 0cm 10pt;"><span lang="EN-GB" style="background-color: white; background-position: initial initial; background-repeat: initial initial; color: #222222; font-family: Arial; font-size: 8pt;"></span></p><p class="MsoNormal" style="font-family: "Times New Roman"; margin: 0cm 0cm 10pt;"><span lang="EN-US" style="background-color: white; background-position: initial initial; background-repeat: initial initial; color: #222222; font-family: Arial; font-size: 8pt;">Slates paradoxically seem to me paleolithic mobile screens with their messages on social Networks.</span><span lang="EN-US"></span></p>María José Gómez Redondohttp://www.blogger.com/profile/15906894403834782693noreply@blogger.com0tag:blogger.com,1999:blog-6436295898744157215.post-38326461259895206872020-08-09T03:05:00.004-07:002021-01-01T03:41:17.336-08:00 Claude Monet: my garden would be an inspirational place.<p>When I was ordering my plant pots, I thought it is my favorite place to work. I wished I would create an innovative artwork about this scene.</p><p>Immediately, Monet’s Giverny garden came to my mind. It was gorgeous. Not only because had it offered a beautiful subject for his paintings also it was visually inspirational. It is a break-through, an innovation view.</p><p>Monet made The Water lilies in the last decade of the long life. Their power is not only of inspiration stroke but of an enduring passion, both for the artist’s subject and his vocation. </p><p>As a photographer, I have been interested in knowing the sight process and how we think that we watch. Even when Monet’s paintings are encountered one at a time, the artist’s environmental vision is apparent in their magnitude, and, more important, in their scale vis-à-vis an individual’s perception.</p><p>Surface and reflection could be questions for an artist who wants to capture a plant in the water. He focused tightly on the water surface. Monet succeeded in making paintings that convert the viewer’s role from observation to immersion. From the outset, the artist envisaged them as all-encompassing. </p><p><a href="https://1.bp.blogspot.com/-0uW8fzbQia4/Xy_JVq4d7bI/AAAAAAAAOxk/s5NgyrcGILQwvmUeKJbJZ2xHFVwja2IpgCLcBGAsYHQ/s1772/DSC_5200.JPG" style="display: inline !important; padding: 1em 0px;"><img border="0" data-original-height="1772" data-original-width="1267" height="640" src="https://1.bp.blogspot.com/-0uW8fzbQia4/Xy_JVq4d7bI/AAAAAAAAOxk/s5NgyrcGILQwvmUeKJbJZ2xHFVwja2IpgCLcBGAsYHQ/s640/DSC_5200.JPG" /></a></p><div class="separator" style="clear: both; font-family: "Times New Roman";"><br /></div><span style="font-family: Arial;"><span style="font-size: 14.666666984558105px;">María José Gómez Redondo, "hugs and verses" 2020</span></span><p></p><p class="MsoNormal" style="margin: 0.1pt 0cm;"><br /></p><p class="MsoNormal" style="font-family: "Times New Roman"; margin: 0.1pt 0cm;"></p><div class="separator" style="clear: both;"><a href="https://1.bp.blogspot.com/-WSmwU8vNFnQ/Xy_KMSYAM2I/AAAAAAAAOxw/DoTamgnSe14GxlJCe-_cUpXBu0UkDQcFgCLcBGAsYHQ/s2048/mano%2Bde%2Bagua%2B6.JPG" style="display: block; padding: 1em 0px;"><img border="0" data-original-height="1404" data-original-width="2048" src="https://1.bp.blogspot.com/-WSmwU8vNFnQ/Xy_KMSYAM2I/AAAAAAAAOxw/DoTamgnSe14GxlJCe-_cUpXBu0UkDQcFgCLcBGAsYHQ/s640/mano%2Bde%2Bagua%2B6.JPG" width="640" /></a></div><p></p><p class="MsoNormal" style="font-family: "Times New Roman"; margin: 0.1pt 0cm;"><span lang="EN-GB" style="font-family: Arial; font-size: 11pt;">María José Gómez Redondo, "hands in the water" 2013</span></p><p class="MsoNormal" style="font-family: "Times New Roman"; margin: 0.1pt 0cm;"><br /></p><p class="MsoNormal" style="font-family: "Times New Roman"; margin: 0.1pt 0cm;"><span lang="EN-GB" style="font-family: Arial; font-size: 11pt;"> </span></p><div class="separator" style="clear: both;"><a href="https://1.bp.blogspot.com/-qcy16ijQwxw/Xy_KdHGdVlI/AAAAAAAAOx4/5-wNq0pi5YYbE1zQW3c8LIC0EH4FGPRFACLcBGAsYHQ/s2476/monet.jpg" style="display: block; padding: 1em 0px;"><img border="0" data-original-height="406" data-original-width="2476" src="https://1.bp.blogspot.com/-qcy16ijQwxw/Xy_KdHGdVlI/AAAAAAAAOx4/5-wNq0pi5YYbE1zQW3c8LIC0EH4FGPRFACLcBGAsYHQ/s640/monet.jpg" width="640" /></a></div><p></p><p class="MsoNormal" style="font-family: "Times New Roman"; margin: 0.1pt 0cm;"><span lang="EN-GB" style="font-family: Arial; font-size: 11pt;">Claude Monet </span><span lang="EN-GB" style="font-family: Arial; font-size: 11pt;"><o:p></o:p></span></p><p class="MsoNormal" style="font-family: "Times New Roman"; margin: 0.1pt 0cm;"><i><span lang="EN-GB" style="font-family: Arial; font-size: 11pt;">Water Lilies</span></i><span lang="EN-GB" style="font-family: Arial; font-size: 11pt;">, 1914–26<br />Oil on canvas, three panels, each 6' 6 </span><span lang="EN-GB" style="font-family: Arial; font-size: 11pt; position: relative; top: -2pt;">3</span><span lang="EN-GB" style="font-family: Arial; font-size: 11pt;">/</span><span lang="EN-GB" style="font-family: Arial; font-size: 11pt;">4</span><span lang="EN-GB" style="font-family: Arial; font-size: 11pt;">" x 13' 11 </span><span lang="EN-GB" style="font-family: Arial; font-size: 11pt; position: relative; top: -2pt;">1</span><span lang="EN-GB" style="font-family: Arial; font-size: 11pt;">/</span><span lang="EN-GB" style="font-family: Arial; font-size: 11pt;">4</span><span lang="EN-GB" style="font-family: Arial; font-size: 11pt;">" (200 x 424.8 cm); overall 6' 6 </span><span lang="EN-GB" style="font-family: Arial; font-size: 11pt; position: relative; top: -2pt;">3</span><span lang="EN-GB" style="font-family: Arial; font-size: 11pt;">/</span><span lang="EN-GB" style="font-family: Arial; font-size: 11pt;">4</span><span lang="EN-GB" style="font-family: Arial; font-size: 11pt;">" x 41' 10 </span><span lang="EN-GB" style="font-family: Arial; font-size: 11pt; position: relative; top: -2pt;">3</span><span lang="EN-GB" style="font-family: Arial; font-size: 11pt;">/</span><span lang="EN-GB" style="font-family: Arial; font-size: 11pt;">8</span><span lang="EN-GB" style="font-family: Arial; font-size: 11pt;">" (200 x 1,276 cm) The Museum of Modern Art, New York<br /><br /><o:p></o:p></span></p><p class="MsoNormal" style="font-family: "Times New Roman"; margin: 0cm 0cm 10pt;"><span lang="EN-GB" style="font-family: Arial; font-size: 11pt;"> </span></p><p class="MsoNormal" style="font-family: "Times New Roman"; margin: 0cm 0cm 10pt;"><span lang="EN-GB" style="font-family: Arial; font-size: 11pt;"> </span></p><p class="MsoNormal" style="font-family: "Times New Roman"; margin: 0cm 0cm 10pt;"><span lang="EN-GB" style="font-family: Arial; font-size: 11pt;">If you want to know what is the legacy of Monet’s garden to the Modern painting you should read this article:<o:p></o:p></span></p><p class="MsoNormal" style="font-family: "Times New Roman"; margin: 0cm 0cm 10pt;"><span style="font-family: Arial; font-size: 11pt;"><a href="https://mo.ma/2OMLgER"><span style="color: #225cc0;">Ann Temkin and Nora Lawrence. </span><i><span style="color: #225cc0;">Claude Monet: Water Lilies</span></i><span style="color: #225cc0;">. The Museum of Modern Art, 2009.</span></a><o:p></o:p></span></p>María José Gómez Redondohttp://www.blogger.com/profile/15906894403834782693noreply@blogger.com0tag:blogger.com,1999:blog-6436295898744157215.post-49194529300911925412020-08-08T04:10:00.006-07:002021-01-02T01:54:28.249-08:00Her self-portrait<p> <span style="color: #1f1f1f; font-family: Arial; font-size: 10pt;">Time-stretched self-portrait</span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-xn-ME47kvwE/Xy6F09GEfnI/AAAAAAAAOxE/vZqcnnsEuQsLn-2IGm8HitNpM1EPCD2WQCLcBGAsYHQ/s911/berenice-abbott-720_tcm1069-524206.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="911" data-original-width="720" height="640" src="https://1.bp.blogspot.com/-xn-ME47kvwE/Xy6F09GEfnI/AAAAAAAAOxE/vZqcnnsEuQsLn-2IGm8HitNpM1EPCD2WQCLcBGAsYHQ/s640/berenice-abbott-720_tcm1069-524206.jpg" /></a></div><p></p><p class="MsoNormal" style="font-family: "Times New Roman"; margin: 0cm 0cm 0.0001pt;"><span lang="EN-GB" style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: Arial; font-size: 10pt;"><o:p> </o:p></span></p><p class="MsoNormal" style="margin: 0cm 0cm 0.0001pt;"><span style="font-family: arial; font-size: small;"><span lang="EN-GB" style="background-color: white;">Berenice Abbott.</span><span lang="EN-GB"> <i>Portrait of the Artist as a Young Woman</i></span><span lang="EN-GB" style="background-color: white;">. Negative c. 1930/distortion c. 1950</span><span lang="EN-GB"><o:p></o:p></span></span></p><p class="MsoNormal" style="line-height: 10.5pt; margin: 0cm 0cm 0.0001pt;"><span style="font-family: arial; font-size: small;"><br /></span></p><p style="color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="margin-bottom: 0pt; margin-top: 0pt;">I was looking for self-portraits made by women artists and found an article in </span><a class="editor-rtfLink" href="https://www.moma.org/magazine/articles/256" style="color: #4a6ee0; margin-bottom: 0pt; margin-top: 0pt;" target="_blank"><span data-preserver-spaces="true" style="margin-bottom: 0pt; margin-top: 0pt;">https://www.moma.org/magazine/articles/256</span></a><span data-preserver-spaces="true" style="margin-bottom: 0pt; margin-top: 0pt;">. A guide to five powerful self-portraits in the MoMA collection</span></p><p style="color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="margin-bottom: 0pt; margin-top: 0pt;">I felt shocked by this. Berenice could not have influenced my work because I did not know her work when I started to do my photos.</span></p><p style="color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="margin-bottom: 0pt; margin-top: 0pt;">This picture gets several things that engage me:</span></p><p style="color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="margin-bottom: 0pt; margin-top: 0pt;">- The photo is the result of two shots: one in 1930 and the other in 1950. It might connect with the concept of Delay in Duchamp.</span></p><p style="color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="margin-bottom: 0pt; margin-top: 0pt;">- The distorted face connects with the combination of various cubism views and distortions in surreal images. The taking of photos also connects with the press images taken by the POP movement, Andy Warhol art, and with the concept of appropriation in post-modernity.</span></p><p style="color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><br /></p><p style="color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="margin-bottom: 0pt; margin-top: 0pt;">This self-portrait places Berenice in three positions: model, photographer, and spectator of her image. She said about the picture: </span><em style="margin-bottom: 0pt; margin-top: 0pt;">I like this picture so well because it re-creates some of the feelings I got from the original scene, and that is the real test of any image. </em><span data-preserver-spaces="true" style="margin-bottom: 0pt; margin-top: 0pt;">Berenice Abbott, 1953.</span></p><p style="color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: arial; font-size: small;"><br /></span></p><p style="color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;">When I start to do my artwork, I concentrated my interest in photographing photos that I have seen in the press. I believed that art has closely related to the exercise of learning to watch. I soon realized that not far from the image we see, there is another one, which is less stable, which seems to be moving, and I decided to combine them, trying to raise the one which is always left behind, hidden.</p><p style="color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><br /></p><p style="color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><br /></p><p style="color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;">The photographer Berenice Abbott chose to distort her face in this self-portrait, a contrarian response to rigid beauty ideals for women. It also evokes a sense of vulnerability in a moment of sweeping technological and social change following World War I.</p><p style="color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;">By warping the paper under the enlarger, Abbott emphasized her eyes that she looks like a cat. Her fascination with the flexible inscription of reality in photography overrode vanity. However, the distorted face is still recognizably hers-described at the time as a face with no edges, boy-cut hair, and kewpie eyes.</p><p style="color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: arial; font-size: small;"><br /></span></p><p style="color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;">We both throw the formal construction of the images posed as related fragments are made very clear. Pieces of paper, transfers on the photographic emulsion, imprints on different supports, I make the image acquire a technical depth in keeping with its visual complexity.</p><p class="MsoNormal" style="font-family: "Times New Roman"; line-height: 10.5pt; margin: 0cm 0cm 0.0001pt;"><span lang="EN-GB" style="font-family: Arial; font-size: 10pt;"><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; color: #414141;"><br /></span></span></p><p class="MsoNormal" style="line-height: 10.5pt; margin: 0cm 0cm 0.0001pt;"><span lang="EN-GB"></span></p><div class="separator" style="clear: both; font-family: Arial; font-size: 10pt; text-align: center;"><a href="https://1.bp.blogspot.com/-Dva7ZUDFLgc/Xy6Gq4JGxoI/AAAAAAAAOxM/2DT9nLMLiNY43R1zqI74cYUki1qSZyFsACLcBGAsYHQ/s1000/cara%2Bdiptico%2Bconjunto.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="747" data-original-width="1000" src="https://1.bp.blogspot.com/-Dva7ZUDFLgc/Xy6Gq4JGxoI/AAAAAAAAOxM/2DT9nLMLiNY43R1zqI74cYUki1qSZyFsACLcBGAsYHQ/s640/cara%2Bdiptico%2Bconjunto.jpg" width="640" /></a></div><span style="background-color: white; color: #414141;"><span style="font-family: arial; font-size: small;"><br /></span></span><p></p><p class="MsoNormal" style="line-height: 10.5pt; margin: 0cm 0cm 0.0001pt;"><span style="font-family: arial; font-size: small;">Face, diptych, photography printed over the fabric. 1 m length 1.50 width </span></p><p class="MsoNormal" style="line-height: 10.5pt; margin: 0cm 0cm 0.0001pt;"><span style="font-family: arial; font-size: small;">María José Gómez Redondo 1999</span></p><p class="MsoNormal" style="font-family: "Times New Roman"; line-height: 10.5pt; margin: 0cm 0cm 0.0001pt;"><span lang="EN-GB" style="font-family: Arial; font-size: 10pt;"><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; color: #414141;"><br /></span></span></p><p class="MsoNormal" style="font-family: "Times New Roman"; line-height: 10.5pt; margin: 0cm 0cm 0.0001pt;"><span lang="EN-GB" style="font-family: Arial; font-size: 10pt;"><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; color: #414141;"><br /></span></span></p><p class="MsoNormal" style="font-family: "Times New Roman"; line-height: 10.5pt; margin: 0cm 0cm 0.0001pt;"><span lang="EN-GB" style="font-family: Arial; font-size: 10pt;"><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; color: #414141;"><br /></span></span></p>María José Gómez Redondohttp://www.blogger.com/profile/15906894403834782693noreply@blogger.com0tag:blogger.com,1999:blog-6436295898744157215.post-71069388229000801012020-06-02T09:38:00.002-07:002021-08-14T05:04:34.126-07:00SELF-PORTRAITS THROUGH OTHERS <div class="MsoNormal" style="font-family: "Times New Roman"; margin: 0cm 0cm 10pt;">
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<span lang="EN-GB" style="background-color: white; font-family: "helvetica"; font-size: 11pt;">It was my photographic intervention at the Carabanchel Penal Institution, December 1994, Madrid. <o:p></o:p></span></div>
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<span lang="EN-GB" style="background-color: white; font-family: "helvetica"; font-size: 11pt;">Only a few artists invited to create our work in a prison, it was about turning the jail into a forum for cutting edge art. Concha Jerez, Nacho Criado, Pepe Iges, Isidoro Valcarcel Medina, and other young artists, we came up with projects that could be developed in confinement circumstances with convicts who wanted to participate.<o:p></o:p></span></div>
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<span lang="EN-GB" style="background-color: white; font-family: "helvetica"; font-size: 11pt;">We proposed to reflection on the role of art in segregated and excluded territories It was about fostering a meeting, and a mutual surprise that of the artist who comes from outside, and that of the inmate who is invited to work.<o:p></o:p></span></div>
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<span lang="EN-GB" style="background-color: white; font-family: "helvetica"; font-size: 11pt;">Before our meeting, I asked myself a question: when I draw or photograph a face do I represent my face, without intending to, about the one I am trying to portray? This could be connected with the concept of empathy: the child responds to his mother's smile and imitating his gesture, he interprets the face of the closest person. For empathy when we make a portrait, we project our appearance on other faces. <o:p></o:p></span></div>
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<span lang="EN-GB" style="background-color: white; font-family: "helvetica"; font-size: 11pt;">A turning point in this project was in the first prison visit, I found unforeseen lighting circumstances, in a closed place, without natural light, we improvised a spotlight with the slide projector. <o:p></o:p></span></div>
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<span lang="EN-GB" style="background-color: white; font-family: "helvetica"; font-size: 11pt;">Presenting my work as a collaboration proposal, I asked the inmates for help and, I showed them images of me that provided information on the future results. Besides, I touched on some technical and personal aspects that could connect with their concerns as image-creating photographers inside the enclosure. I was interested in showing that it was possible to construct images in a small space and somewhat precarious circumstances to elaborate own language. They accepted my proposal.<o:p></o:p></span></div>
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<span lang="EN-GB" style="background-color: white; font-family: "helvetica"; font-size: 11pt;">Firstly I thought to include my hand in the image; but finally, I decided, during the development of the on-site work, their hand should appear, with an object that I carried, they chose. We would make a half portrait or a double portrait: my face and his hand. Their hands, and my face, all the same, but different, became a challenge for those who see the images. You can see many things on the hand: the footprints, the age, the future, the past too.<o:p></o:p></span></div>
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<span lang="EN-GB" style="background-color: white; font-family: "helvetica"; font-size: 11pt;">As you might know, I carefully wrote down who had taken each photograph, and whose hand it was. With this material, I continued working in the studio. I took nine photographs, one for each portrait taken in prison (nine were the participants: six prisoners and three educators) in the first phase, until obtaining satisfactory results. <o:p></o:p></span></div>
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<span lang="EN-GB" style="background-color: white; font-family: "helvetica"; font-size: 11pt;">I went back to jail and showed them the first evidence. I thought it is necessary to improve the quality of the results regarding sharpness and color and continued working in my studio. I took about 15 new pictures for each portrait. About 120 pictures. I made nine mural portraits of 100cm x 150cm, mounted, and screwed on methacrylate. <o:p></o:p></span></div>
<span lang="EN-GB" style="background-color: white; font-family: "helvetica"; font-size: 11pt;">Although initially, the formal approaches were clear, the results obtained surprised me: my face was always smiling (in the photos, I had taken in my previous work, the appearance was serene, very calm). </span><span face="-webkit-standard"></span></div>
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<span lang="EN-GB" style="background-color: white; font-family: "helvetica"; font-size: 11pt;"> However, this face in prison with a smile showed a complex emotional situation. The lighting was extremely dramatic; the shadow-light relationship turns the objects, face, and hand into appearances and contributes to giving a formal definition of the face and the different hand. Hands look like faces, faces look like hands. Is it the left or the right side? Is it a face or profile face?<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "helvetica"; font-size: 11pt;"><a href="https://archive.aperture.org/article/1999/2/2/maria-jose-gomez-redondo" target="_blank">References: María José Gómez Redondo Aperture Magazine Spring 1999</a></span></div>
<o:p></o:p>María José Gómez Redondohttp://www.blogger.com/profile/15906894403834782693noreply@blogger.com0tag:blogger.com,1999:blog-6436295898744157215.post-1977787763479240142020-06-02T02:39:00.001-07:002021-01-01T02:47:57.857-08:00ElementsMore than emotion, I want to assert a claim to the suggestion, which is a kind of bridge between reason and unreason.<br />
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Her work titled "Ether" (1993) belongs to a series on the different elements, photographs in which the artist searches though motifs for asociaciones shown between a central nucleus and the rest of the surface of the photo, between proximity and distance, focus and lack of focus.<br />
She is aware that in her works she is looking for spectators' engagement. This is why she uses fragments and gives clues though keeping areas of mystery:"It is thee way you place things in front of camera what transform them. This is why I take care of reorganizing what I photograph, why I choose the place and particular distance".<br />
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"Fire"</div>
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"Air"</div>
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"Water"</div>
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María José Gómez Redondohttp://www.blogger.com/profile/15906894403834782693noreply@blogger.com0tag:blogger.com,1999:blog-6436295898744157215.post-22037649062635602082020-06-02T02:13:00.003-07:002021-08-14T05:01:44.377-07:00Spanish VisionMaria jose Gomez Redondo uses appropriations, double exposures and montages to create a dream-like work in which no monsters are allowed. In the series of her photographs in The Spanish Vision, she depicts the five senses, leaving the "sixth" sense to be deduced from these depictions-and the one which forms a part of her technique along with the other, more apparent ones.<br />
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"The sense of vision"</div>
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"the sense of touch"</div>
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"The sense of smell"</div>
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"The sense of hearing"</div>
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"The sense of taste"</div>
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<span style="text-align: start;">In her first one-person show in December 1990 at the Circulo de Bellas Artes in Madrid. María José Gómez Redondo (Valladolid 1963) presented two kind of works: allegories of the senses and series of still-lifes with classical </span>connections. Two series which can be taken as premonitory examples of the sort of work she has been developing since then, in which there is an inclination to tell stories mixed with subtle sensuality, translated into images, thanks to a precise control of the onlooker distance. She talks about it when she remembers her beginnings, when she used to paint: "After completing some photographic works in 1987 with Luis Mayo, I became so interested in that medium that I could not abandon it thought I concentrated my interest in photographing photos that I has seen in the press. I was convinced that art was closely related with exercise of learning to watch. I soon realized that not far from the image we see, there is another one, which is less stable, which seems to be moving, and decided to combined them, trying to raise the one which always left behind, hidden"</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">References:</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://www.abebooks.com/first-edition/Spanish-Vision-Contemporary-Art-Photography-1970-1990/7654896217/bd" target="_blank">The Spanish Vision: Contemporary Art Photography 1970-1990</a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><img alt="" data-original-height="20" data-original-width="10035" height="1" src="https://lh3.googleusercontent.com/-2ByHNrs_FE8/YRewHZRmhWI/AAAAAAAARww/n_6Wk9vqmOgxIBiRCPkL2Q-zwA7eVk6PQCLcBGAsYHQ/w320-h1/image.png" width="320" /></div><br /><br /></div>
<br />María José Gómez Redondohttp://www.blogger.com/profile/15906894403834782693noreply@blogger.com0tag:blogger.com,1999:blog-6436295898744157215.post-57967859734122600652019-07-30T03:03:00.003-07:002021-01-02T02:03:04.317-08:00The reality (Summer 2003)<div class="MsoNormal" style="font-family: "Times New Roman"; margin: 0cm 0cm 10pt;"><div class="MsoNormal" style="margin: 0cm 0cm 10pt;">I look at my thoughts like clouds: there is an idea that I stop, and another that escapes me.</div><div class="MsoNormal" style="margin: 0cm 0cm 10pt;">We usually define reality as an independent fact of our will and thought as something intimate that happens to us, not real or illusory.</div><div class="MsoNormal" style="margin: 0cm 0cm 10pt;">However, our thoughts stain our reality, and these become our way of looking and acting.</div><div class="MsoNormal" style="margin: 0cm 0cm 10pt;">I will wait for a sweeter achievement.</div></div>
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<span lang="EN-GB">One only among many words.<o:p></o:p></span></div>
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<span lang="EN-GB"> I will wake up cheated.<o:p></o:p></span></div>
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<span lang="EN-GB">Where the mind is stuck.<o:p></o:p></span></div>
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<span lang="EN-GB">Behind the shield of grief.<o:p></o:p></span></div>
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<span lang="EN-GB">I almost feel it's true.<o:p></o:p></span></div>
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<span lang="EN-GB">It seems to be only pain.<o:p></o:p></span></div>
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<span lang="EN-GB">It is held in the soul.<o:p></o:p></span></div>
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María José Gómez Redondohttp://www.blogger.com/profile/15906894403834782693noreply@blogger.com0tag:blogger.com,1999:blog-6436295898744157215.post-26066996923411409002019-07-29T00:25:00.003-07:002021-01-02T02:21:58.813-08:00 the unseen (December 2000)<div class="MsoNormal" style="font-family: "Times New Roman"; margin: 0cm 0cm 10pt;">
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<div class="MsoNormal" style="margin: 0cm 0cm 10pt;"><br /></div><div class="MsoNormal" style="margin: 0cm 0cm 10pt;">It would be a paradox that using the photographic medium is intended to talk about the unseen. A medium tied to the vision is depicting, but what is the unseen?</div><div class="MsoNormal" style="margin: 0cm 0cm 10pt;">The unseen is not the dark, nor mysterious. It is transparent, said Marcel Duchamp. That is the contention of the artwork exhibited in La Casa del Siglo XV Gallery.</div><div class="MsoNormal" style="margin: 0cm 0cm 10pt;">They are images without distance, whose approach makes us perceive again that invisibility, that thinning of reality, as objects become dim until they become the veil, the atmospheric veil that teaches us to perceive distance.</div></div>
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<div class="MsoNormal" style="font-family: "Times New Roman"; margin: 0cm 0cm 10pt;"><div class="MsoNormal" style="margin: 0cm 0cm 10pt;">These pieces convey an identification: supports used with images represented. These are photographs printed on canvas, in which fabrics are depicted in this way, that vehicle of representation is diluted in that identity of materials, making it insensible.</div><div class="MsoNormal" style="margin: 0cm 0cm 10pt;">The works presented in the exhibition are:</div><div class="MsoNormal" style="margin: 0cm 0cm 10pt;">Four large fabrics show veiled faces, submerged in the folds of the sheets, the space in which we remain a large part of our lives: at the beginning and the end of these, in love and sleep.</div><div class="MsoNormal" style="margin: 0cm 0cm 10pt;">Several objects on canvas printed on the same support acquire a symbolic value.</div></div>
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<div>A vertical arm, which holds a plant with a clenched fist, can only see the stem and golden roots opened on the forearm, creating metaphorical parallelism with references to life.</div><div>The Seas are four images mounted in boxes of methacrylate in which soaps are on the water. Surrounded by a white aura of foam, the object stops being to become the media.</div><div><br /></div>
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<br />María José Gómez Redondohttp://www.blogger.com/profile/15906894403834782693noreply@blogger.com0tag:blogger.com,1999:blog-6436295898744157215.post-77920479569133503552018-08-18T02:54:00.003-07:002020-08-08T04:23:01.288-07:00Tribute to Emily Dickinson's PoemsDiary 54 <div><br /></div><div>I made my 54th Diary to make tribute to Emily Dikinson's Poems beautifully translated to Spanish by Amalia Rodriguez Monroy</div><div><br />
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<br /></div>María José Gómez Redondohttp://www.blogger.com/profile/15906894403834782693noreply@blogger.com0tag:blogger.com,1999:blog-6436295898744157215.post-79147820202801249172017-08-09T10:15:00.002-07:002021-01-02T02:33:40.765-08:00Art and Process: River poems<p style="color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="margin-bottom: 0pt; margin-top: 0pt;">I would like to create a small gallery of artistic visual processes</span></p><p style="color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="margin-bottom: 0pt; margin-top: 0pt;">It is a space to expose sketches, notebooks, or diaries.</span></p><p style="color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><br /></p><p style="color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="margin-bottom: 0pt; margin-top: 0pt;">There is also room for theoretical reflection on the artistic process.</span></p><p style="color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><br /></p><p style="color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="margin-bottom: 0pt; margin-top: 0pt;">As a beginning, a quotation of Theodor Adorno.</span></p><p style="color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><br /></p><p style="color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="margin-bottom: 0pt; margin-top: 0pt;">"Art is not exhausted in what can do, but this process makes the work of art have its language, search for the language of the thing."</span></p><p style="color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="margin-bottom: 0pt; margin-top: 0pt;">Ornament. Theodor W. Aesthetic theory.</span></p><p style="color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><br /></p><p style="color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><u style="margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="margin-bottom: 0pt; margin-top: 0pt;">River poems</span></u></p><p style="color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><br /></p><p style="color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="margin-bottom: 0pt; margin-top: 0pt;">I packed thoughts that circulated in my mind and rolled them up in small glass tubes.</span></p>
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Capture clouds</div>
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Detained body</div>
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Disguised as words</div>
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Impulse disguised</div>
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Live fast</div>
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<br />María José Gómez Redondohttp://www.blogger.com/profile/15906894403834782693noreply@blogger.com0tag:blogger.com,1999:blog-6436295898744157215.post-64487712820326406272014-01-20T14:59:00.002-08:002021-01-02T02:47:38.804-08:00María José Gómez RedondoAll her work from the end of 2001 and throughout 2002 wonders about the support of image. She uses a work technique based on the collage and the feedback of different processes. In her previous work, she conceived with a flat collage approach. That did not affect the purely photographic final presentation. In the present work, the image's formal construction posed as related fragments are made very clear. Pieces of paper with digital prints, transfers on the photographic emulsion, imprints on different supports make the image acquire a technical depth in keeping with its visual complexity.<div><br /><div><div><br />
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</div></div></div>María José Gómez Redondohttp://www.blogger.com/profile/15906894403834782693noreply@blogger.com0tag:blogger.com,1999:blog-6436295898744157215.post-41169277298549589342014-01-19T14:42:00.002-08:002021-01-02T02:56:31.373-08:00A NARROW VIEW"Nonetheless, almost all of her photographs are charged with warm tones; a frequently impulsive sensuality with clearly romantic undercurrents that lead to her to propose drastic alternatives, vacillating between passion and cool distance. She insists on approaching her portraits in extreme closeups, but so close that the detail becomes blurred and perception modified. This effect leads us to compare her works with the portrait series "Reserves" by Boltanksi, or Barbara Essand and Cindy Sherman, María José Gómez Redondo shares a love for emotional settings, although Redondo opts for more internalized, less Theatrical formulas, and even for viewing some of her series thought dream-like eye.<br />
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<div class="separator" style="clear: both; text-align: left;"><div class="separator" style="clear: both;">It would be wise, however, to avoid the surrealist temptation of referring to the illusory. However, Redondo likes contrasts, superimpositions, and images that would make more than one surrealist feel at home. And although she does elongate forms and figures producing effects similar to the "meltings" so typical of the Breton group, she contrasts them against blue skies and filmy clouds, imposing an entirely different philosophy than the surrealist. Irony does not figure in Redondo's work. It is a much more transparent exercise where the evocation of memory and an instinctive sensuality seem almost to vibrate. Perhaps because she approached them from a view removed from time, a narrow reduction meant to restore mystery."</div><div class="separator" style="clear: both;">Miguel Fernández Cid</div></div>
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María José Gómez Redondohttp://www.blogger.com/profile/15906894403834782693noreply@blogger.com0tag:blogger.com,1999:blog-6436295898744157215.post-66961958841700350602014-01-19T09:25:00.003-08:002021-01-02T03:05:15.566-08:00Traces of Identity<div>Face</div><div>For the person who makes a self-portrait, the face is the recognition that's not seen. The "I" searches for traces of itself: thought earlier portraits, in mirrors, or in faces that resemble it, family faces. Through empathy, the child responds to the mother's smile; imitating her gesture, the child interprets the face of the person close at hand. Through empathy, when we take someone's picture, we project our own physiognomy onto their faces.</div><div>Every time I've photographed other faces they've seemed similar to mine; this was an accidental discovery, not something I searched for, and now I have proposed to take it as my theme. I cannot photograph my face because I can't see my face. I have to resort to the traces of the others: I look al myself in the pictures others have made of me, in the mirror, or in the faces of others.</div><div>Two elements define the identity of a face: the features and gestures.</div><div>These elements are interrelated: the movement involved in the gesture modifies the form of the features, and the features, in turn, limit the possible movements and gestures, which are summed up or reduced to the instant by the photograph.</div><div><br /></div>
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Trace: the shadow in our dark side 1993</div>
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<div class="separator" style="clear: both; text-align: left;">The face offered to the portraits communicates, constructs its own self by itself, transmits identity. In contrast, the face that confronts the camera as an object (photographing itself, or submitting to the picture taken in an automatic booth) pays no attention to itself, but to the mechanism.</div><div class="separator" style="clear: both; text-align: left;"><br /></div>
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Sex: The change of seasons affects us 1993</div><div class="separator" style="clear: both; text-align: center;"><br /></div>
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OBJECT</div>
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I define my identity through objects, though my relationship with them: I choose them (I collect things that I find on the ground along the route I take daily, several times a day, on the way from my house to the laboratory where I develop my photographs). They project their meaning onto me. These things are without value, object converted into "materials" that are rescued by the fact that I chose them. Photographing them and including them in the context of my self-portrait allows me to see them in another way.</div>
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Face: We do not recognize our tracks, 1993</div><div class="separator" style="clear: both; text-align: center;"><br /></div>
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<div class="separator" style="clear: both; text-align: left;"><div class="separator" style="clear: both;">THE HAND</div><div class="separator" style="clear: both;">By showing our hand we show our identifying signs. Unlike my face, my hand is visible to me. However, I don't recognize its signs, authentic proof of identity. The palm of my hand joins together the signs of my identity and the signs of the passage of time.</div><div class="separator" style="clear: both;">I show the things I've collected with my hand, and the hands, in turn, are shown as objects (the hand, deprived of motion, showing itself). Removed from their usual context, they acquire a symbolic value. Placed in a familiar setting, they become part of a concrete situation.</div><div class="separator" style="clear: both;"><br /></div></div>
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Place of our birth: The dream is what we see with eyes closed, 1993</div>
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DARKNESS</div>
<div class="separator" style="clear: both; text-align: left;"><div class="separator" style="clear: both;">Black space represents the invisible (in the theater, whatever the spectators are not supposed to see is painted black).</div><div class="separator" style="clear: both;">In my self-portraits, the background area is the area without any sign, not imprinted. The background, even though non-existent, acquires weight.</div><div class="separator" style="clear: both;">Darkness creates closed spaces. It turns photography into a setting where a unique situation is revealed.</div></div>
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APERTURE<br />
OPTICAL ALLUSIONS: NEW PERSPECTIVES IN SPANISH PHOTOGRAPHY<br />
NUMBER ONE HUNDRED FIFTY-TIVE SPRING1999<br />
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Self-portrait through the Narciso's eyes 1994</div>
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Project in the prison of Carabanchel.</div>
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María José Gómez Redondohttp://www.blogger.com/profile/15906894403834782693noreply@blogger.com0tag:blogger.com,1999:blog-6436295898744157215.post-54952479502713992852014-01-19T08:48:00.003-08:002021-01-02T03:09:41.683-08:00The Spanish Vision 1990The Spanish Vision: Contemporary art Photography.<br />
The Spanish Institute. New York 1990<br />
<br />María José Gómez Redondo uses appropriations, double exposures, and montages to create a dream-like work in which no monsters are allowed. In the series of her photographs in The Spanish Vision, she depicts the five senses, leaving the "sixth" sense to guess from these depictions _ and the one which forms a part of her technique along with the other, more apparent ones.<div><br />
George L.Aguirre<br />
Guest Curator<br />
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The sense of vision</div>
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The sense of taste</div>
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The sense of hearing</div>
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The sense of smell</div>
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The sense of touch</div>
<br /></div>María José Gómez Redondohttp://www.blogger.com/profile/15906894403834782693noreply@blogger.com0