Y Gallery is pleased to present AFTER THE OBJECT an exhibition curated by Anne Huntington including works by Mauricio Limón, Quirarte & Ornelas, Omar Rodriguez-Graham, Moza Saracho and Marela Zacarias. The exhibition title deliberately references the adage “after the artist”, i.e., “after Picasso,” where the work in question was not necessarily created by the named artist, but rather alludes to the original. Each work presented connects to an object, a study, a still life, as it blends the concept’s origin via the creative process. This show exhibits five Mexican artists whose works uniquely connect to the process of the object: the before and the after, in a dynamic and transformative way.
Huntington began with an idea to curate a group show of contemporary Mexican artists whose work simply and elegantly discusses what we are looking at and viewing in today’s art world. AFTER THE OBJECT brings awareness to the processes behind and identity inherent within each work. Whether it be an actual object, the idea of an object or lack there of, we see what is presented via three potential scopes: the superficial, the emotional, or the conceptual. Mauricio Limón’s works connect to the object via the inclusion or absence of materiality through modes of abstraction and decomposition. Limón’s sense of deep contemplation is at play within his continuous line drawings and animations, which beg viewers to question the identity of each given work. Is it the negative or positive space that gives a context to the whole, where and what is the role of time, and how are these lines and frequencies connected? The object becomes present through its absence. The duo, Quirarte & Ornelas, work with the depictions of objects, to create literal and figurative works in which the object is both the process and the product. The unified works are created by the duo, whose hands and minds connect the fragmented structures into complete wholes. Omar Rodriguez-Graham beautifully and quietly presents these notions in his geometrically abstracted still-lives. Rodriguez-Graham’s works flirt between studies, paintings, sculptures, defined as all and none. He describes his studies, the inspiration for his oil on canvas pieces, as paintings, and the oil on canvas works as sculpture. Each work is titled with the word, “Composición,” and an associated number. In doing so, Rodriguez-Graham conceptually questions what is being defined versus what needs definition. All of his works are after an object. Moza Saracho distinctly directs the viewer’s gaze via an enlarged, mirrored comb entitled Vanity. The piece bluntly delves into our realities of the vain, aesthetic consumptions of today. The “mirror, mirror, on the wall,” a symbol of both narcissism and objectification, questions what is after the object: are we the object, is the actual comb the object or the conceptualized version? Marela Zacarias invites viewers into her world with amorphic sculptures inspired by both traditional geometric Mexican designs and current cultural climates. The sculpture, Slowly He Moves, is an object transformed. A swing is transposed from an innocent, playground object to a work that reflects and harkens upon past and present realities. AFTER THE OBJECT exhibits the methodologies and processes of the actual and the conceptual to activate, entice and define our exhibition experiences.