2022.05.27
2022.07.29
Opening
Warehouse
CarrerasMugica is pleased to present, from 27 May to 29 July, BETWEEN SOMEONE AND SOMETHING, June Crespo's third solo exhibition at the gallery after those held in 2015 and 2017.
→ June CrespoA few months ago Marc told me about a place near where he lives, in Berlin, where they make horse-riding saddles. He spoke about their internal structure and different layers. It reminded me that a few of the favourites I had saved on Wallapop at the time were saddles. I am fascinated by the form of this object which responds to its function of mediating between two bodies, and how one body adopts to another.
The starting point for my work is often an obsession with a certain object and a study of its forms. As I discover what it has to say to me, or how it looks at me, my bond with it is strengthened. Likewise, as I was preparing for this exhibition several images have stuck in my mind: the relationship of intimate contact between the tongue and palate, or between the eyelid and the eyeball; the contact between delicate skin and the corner of the mouth, like between the petals of a flower. Another thing that I have noticed that the different pieces have in common is a kind of push and pull. Almost like a horse as if lopes forward.
Rereading a book by Deleuze on painting, I came across this sentence: “pushing forms until they have nothing to do with illustration.” Pushing forms until tearing them away from … removing them from …
I try to accompany the appropriated forms until they become something else. Until they become one thing and many things at the same time. A form pushed from within, with slight variations that precipitate in another form. I like to think that all the pieces are one single piece in the making. I insist and repeat in order to capture subtle differences, to create a rhythm or to encircle something that eludes me.
I have taken this exhibition as a place to rehearse and practise. To begin to engage with a desire to work with the wall as a plastic surface through fabrics in tension and relaxation on objects that stand out and yet remain partially veiled. Besides exploring the relationship between rigid and flexible, opaque and translucent elements, I also wanted to bring into play a game of revealing and concealing, dressing and undressing, appearing and disappearing.
A few months ago Marc told me about a place near where he lives, in Berlin, where they make horse-riding saddles. He spoke about their internal structure and different layers. It reminded me that a few of the favourites I had saved on Wallapop at the time were saddles. I am fascinated by the form of this object which responds to its function of mediating between two bodies, and how one body adopts to another.
The starting point for my work is often an obsession with a certain object and a study of its forms. As I discover what it has to say to me, or how it looks at me, my bond with it is strengthened. Likewise, as I was preparing for this exhibition several images have stuck in my mind: the relationship of intimate contact between the tongue and palate, or between the eyelid and the eyeball; the contact between delicate skin and the corner of the mouth, like between the petals of a flower. Another thing that I have noticed that the different pieces have in common is a kind of push and pull. Almost like a horse as if lopes forward.
Rereading a book by Deleuze on painting, I came across this sentence: “pushing forms until they have nothing to do with illustration.” Pushing forms until tearing them away from … removing them from …
I try to accompany the appropriated forms until they become something else. Until they become one thing and many things at the same time. A form pushed from within, with slight variations that precipitate in another form. I like to think that all the pieces are one single piece in the making. I insist and repeat in order to capture subtle differences, to create a rhythm or to encircle something that eludes me.
I have taken this exhibition as a place to rehearse and practise. To begin to engage with a desire to work with the wall as a plastic surface through fabrics in tension and relaxation on objects that stand out and yet remain partially veiled. Besides exploring the relationship between rigid and flexible, opaque and translucent elements, I also wanted to bring into play a game of revealing and concealing, dressing and undressing, appearing and disappearing.
