Pablo Boneu

RETRATO MADRE E HIJA - de la Serie ALTERNANCIAS

2020

Photographic printing on 441 4-sided kinetic modules and independent rotation each 31.5 x 31.5 x 2 in 2020 Pablo Boneu crosses the mediums of photography, sculpture and hand-crafte...

Photographic printing on 441 4-sided kinetic modules and independent rotation each 31.5 x 31.5 x 2 in 2020 Pablo Boneu crosses the mediums of photography, sculpture and hand-crafte...

Synthetic enamel on paper

Synthetic enamel on paper

"Icelandic Waterfall" is a photograph printed on canvas that is often mistaken as a painting. It was signed on the back by photographer Deborah Benedic. Taken from a helicopter ride ...

Falla 5 and Falla 2 Diptych, 2021 Archival pigment print on Hahnemuhle smooth canvas. From the series All the faults of the world Overall size: 37 x 40 inches. Individual size: 37 x...

Linarejos Moreno Art Forms in Mechanism XXlll, 2016 natural pigments print on gessoed burlap 117 x 60 inches “Art Forms in Mechanism” began when artist Linarejos Moreno discovered a collection of 19th century botanical models while researching at the Cabinet of Scientific Curiosities, a Spanish historical archive. Manufactured by a European company that specialized in scientific equipment, the models are made of papier-mâché, gears, clips, hooks, and printed numbers and labels, and they were designed for hands on, practical use. Moreno was initially attracted to the models because, as she notes, “they contained the tension between the industrial and the humanity/fragility that I often research in my work. On the one hand, they were machines, with all their gears, on the other hand, even if they were supposed to be neutral scientific objects...

Linarejos Moreno Art Forms in Mechanism XXl, 2016 natural pigments print on gessoed burlap 124 x 59 inches “Art Forms in Mechanism” began when artist Linarejos Moreno discovered a collection of 19th century botanical models while researching at the Cabinet of Scientific Curiosities, a Spanish historical archive. Manufactured by a European company that specialized in scientific equipment, the models are made of papier-mâché, gears, clips, hooks, and printed numbers and labels, and they were designed for hands on, practical use. Moreno was initially attracted to the models because, as she notes, “they contained the tension between the industrial and the humanity/fragility that I often research in my work. On the one hand, they were machines, with all their gears, on the other hand, even if they were supposed to be neutral scientific objects...