Pixel Pancho

Kiss

2015

Hand-coloured tableau of a weeping spirit and her guardians, immobilised in marble. A disjointed narrative looking at recovery and protection, the angels shield the spirit with tender embraces and cry for her when alone. Taken from The Sialia Marbles, a series of portraits containing ephemeral human sculptures taken between 2016-19. Together these works act as tales contained in a fictional sculpture hall, in direct reaction to Andre Malraux’s 1947 Le Musee Imaginaire (Museum Without Walls). During the beginning of the 'Museum Age' in the 18th century , writer Johann Wolfgang Von Goethe discussed mythical...

Hand-coloured portrait of a human larvae bursting out of their cocoon, immobilised in marble. Representative of a safe and isolating space, the cocoon is both a cage and a shelter. This tale is a​ study of transformation, of breaking apart and coming back together as the larvae emerges from the silken threads. Taken from The Sialia Marbles, a series of portraits containing ephemeral human sculptures taken between 2016-19. Together these works act as tales contained in a fictional sculpture hall, in direct reaction to Andre Malraux’s 1947 Le Musee Imaginaire (Museum Without Walls). During the beginning of the 'Museum Age' in the 18th century , writer Johann Wolfgang Von Goethe discussed mythical sculpture...

Hand signed, dated and numbered by the artist. Image size 19 x 32 inches. Giclee on hand made cotton paper. Artwork in excellent condition. Additional images are available upon reque...

Historia, Memoria y Silencios (Unopened XV), 2009 Archival ink on cotton paper 16h x 16w in Edition of 5 Lorena Guillén Vaschetti was born in Rosario, Argentina in 1974 and currently lives and works in Buenos Aires. In 2000 Lorena received a degree in Architecture and Anthropology from University of Buenos Aires. Her work has been widely exhibited and published in the United States, South America, and Europe. Her first book, Historia, Memoria, y Silencios, Schilt 2011 was distinguished by PhotoEspana, 2012 and PDN as one of the Best Books of the Year. Her work is in the permanent museum collections of Brandts Museet for Fotokunst in Denmark, Museo de Bellas Artes of Rio de Janeiro, and the Southeast Museum of Photography in Florida. Lorena approaches photography as an anthropologist, and the simplicity of her work allows the viewer to bring in their own stories, conclusions, and realities to the images. Using the idea of memory as a foundation for her work, Lorena's photographic series dissect how we are in the present as a result of what we remember from the past. In her Historia, Memoria, y Silencio series the artist captures elements and artifacts recovered from a box of thrown out family photographs. In 2009, Lorena's mother threw away all of the family slides to protect her daughter from their family history. Lorena was able to recover only one box out of the many that her mother discarded. She re-photographed the contents from her perspective, choosing to leave the slides that were wrapped in packages unopened. Bound in elastic bands, and concealed in film cannisters...

Historia, Memoria y Silencios (Silencios) Unopened XII, 2009 Archival ink on cotton paper 16h x 16w in 1/5 Lorena Guillén Vaschetti was born in Rosario, Argentina in 1974 and currently lives and works in Buenos Aires. In 2000 Lorena received a degree in Architecture and Anthropology from University of Buenos Aires. Her work has been widely exhibited and published in the United States, South America, and Europe. Her first book, Historia, Memoria, y Silencios, Schilt 2011 was distinguished by PhotoEspana, 2012 and PDN as one of the Best Books of the Year. Her work is in the permanent museum collections of Brandts Museet for Fotokunst in Denmark, Museo de Bellas Artes of Rio de Janeiro, and the Southeast Museum of Photography in Florida. Lorena approaches photography as an anthropologist, and the simplicity of her work allows the viewer to bring in their own stories, conclusions, and realities to the images. Using the idea of memory as a foundation for her work, Lorena's photographic series dissect how we are in the present as a result of what we remember from the past. In her Historia, Memoria, y Silencio series the artist captures elements and artifacts recovered from a box of thrown out family photographs. In 2009, Lorena's mother threw away all of the family slides to protect her daughter from their family history. Lorena was able to recover only one box out of the many that her mother discarded. She re-photographed the contents from her perspective, choosing to leave the slides that were wrapped in packages unopened. Bound in elastic bands, and concealed in film cannisters...

Historia, Memoria y Silencios (Silencios) Unopened VII, 2009 Archival Ink on Cotton Paper 16h x 16w in Lorena Guillén Vaschetti was born in Rosario, Argentina in 1974 and currently lives and works in Buenos Aires. In 2000 Lorena received a degree in Architecture and Anthropology from University of Buenos Aires. Her work has been widely exhibited and published in the United States, South America, and Europe. Her first book, Historia, Memoria, y Silencios, Schilt 2011 was distinguished by PhotoEspana, 2012 and PDN as one of the Best Books of the Year. Her work is in the permanent museum collections of Brandts Museet for Fotokunst in Denmark, Museo de Bellas Artes of Rio de Janeiro, and the Southeast Museum of Photography in Florida. Lorena approaches photography as an anthropologist, and the simplicity of her work allows the viewer to bring in their own stories, conclusions, and realities to the images. Using the idea of memory as a foundation for her work, Lorena's photographic series dissect how we are in the present as a result of what we remember from the past. In her Historia, Memoria, y Silencio series the artist captures elements and artifacts recovered from a box of thrown out family photographs. In 2009, Lorena's mother threw away all of the family slides to protect her daughter from their family history. Lorena was able to recover only one box out of the many that her mother discarded. She re-photographed the contents from her perspective, choosing to leave the slides that were wrapped in packages unopened. Bound in elastic bands, and concealed in film cannisters...