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James Bonachea GuerraMANDRAGORA. From The Series Doble Standard Series. Watercolor Painting2023
2023
$3,500
£2,665.63
€3,072.53
CA$4,896.48
A$5,503.32
CHF 2,865.98
MX$66,933.93
NOK 36,673.75
SEK 34,777.52
DKK 22,931.32
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About the Item
The more transcendental the representation, the more it tends to evoke it through its prodigies. Such is the case of the Double standard series in the words of the artist "It is a process of visual archeology through a search for human representations conditioned by their ritual, aesthetic or utilitarian meaning where a resignification of beauty patterns is proposed, a game with female representation with its multiple meanings, functions and forms”
James Bonachea combines the same motif separated by different forms of representation. The double standard announces a double reading of the original meaning of an image, a polysemic game of signifiers. Doble standard's proposal is an artisan of artisans: it summarizes the wisdom of concretism in time through the human figure and the object as a poetic expression of the time in which Bonachea's works take place.
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:2023
- Dimensions:Height: 55.12 in (140 cm)Width: 41.34 in (105 cm)Depth: 0.12 in (3 mm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Miami Beach, FL
- Reference Number:1stDibs: LU453311943672
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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