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James Bonachea GuerraGeometría fractal 2. The memory of narcissus series . Watercolor Painting2019
2019
$2,300
£1,751.70
€2,019.09
CA$3,217.68
A$3,616.46
CHF 1,883.36
MX$43,985.15
NOK 24,099.89
SEK 22,853.80
DKK 15,069.16
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About the Item
This series of works stems from the reflection on the value attributed to objects (metals and precious stones), established culturally and historically by society. By means of the two-dimensional representation where the artist creates a series of works that dialogue ironically with the concept of value, understood by the added content, I represent scenes and objects that are directly related to the idea of exchange and judgment fundamentally using a chromatic range that is associated with said judgment (gray graphite as a physical component of the diamond in another density, gold, silver and bronze as metals representing different scales of value), combining such materials by its chromatic symbolic quality.
The work of James Bonachea is characterized by being a constant invitation to redefine deep beliefs in the cultural imagery as well as objects of daily use. This exercise has taken him to the intervention of public and private spaces implicating his own body, as well as organic materials and other elements in settings and surfaces, in contradictory appearances, within formal solutions of visual and pictorial discourses. With his work Bonachea plays with humor and the sacred, giving the spectator an experience of irrational astonishment.
Unique.
- Creator:James Bonachea Guerra (1977, Cuban)
- Creation Year:2019
- Dimensions:Height: 27.56 in (70 cm)Width: 19.69 in (50 cm)Depth: 0.12 in (3 mm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Miami Beach, FL
- Reference Number:1stDibs: LU453311963742
The work of James Bonachea (Cuba, 1977) has been characterized as a constant invitation to re-signify both the beliefs rooted in the cultural imagination, as easily as the objects of everyday use. This practice has led him to the intervention of public and private spaces involving both his own body, as well as organic materials and other elements in settings and surfaces, apparently contradictory, within the formal solutions of visual and pictorial discourses. From performance to drawing, his curiosity for rereading the remote past has directed him to establish dialogues between the historical vision and the current condition of reality, resulting in discursive forms that complement an anachronistic universe of resignifications.
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