A catalogue essay for “Tony Vazquez-Figueroa: PETROPIAS”, LnS Gallery, Miami, softcover, 50 pages, November 2021
Excerpts from my Personal Epilogue:
A curator usually comes to accompany the realization of a solo exhibition after the artist has formulated an idea and has found a practical direction to pursue, so that the curator is mainly charged with polishing and refining the thesis and its interpretation and expression in space. This is the first time I have worked with an artist on a museum-scale exhibition, which began with the two of us facing a blank slate. Two years ago, at the onset of our dialogue, and just several months before the outbreak of the COVID-19 pandemic, Tony and I hadn’t the faintest idea what the exhibition would look like, how its concept would be defined, or what works it would include. This shared ground zero led to a fertile dialogue that largely evolved on Zoom during the pandemic, while he was self-isolating in the mountains of Colorado or in a cabin in Maine, and I was tucked away in my room in Miami, detached from the world. Once a month, we would meet for several hours online. Step by step, through a process of in-depth study and inquiry, and by means of countless choices and movements through circles of expansion and contraction, the exhibition components came to be consolidated, and its scale was established.
A catalogue essay for “Tony Vazquez-Figueroa: PETROPIAS”, LnS Gallery, Miami, softcover, 50 pages, November 2021
Excerpts from my Personal Epilogue:
A curator usually comes to accompany the realization of a solo exhibition after the artist has formulated an idea and has found a practical direction to pursue, so that the curator is mainly charged with polishing and refining the thesis and its interpretation and expression in space. This is the first time I have worked with an artist on a museum-scale exhibition, which began with the two of us facing a blank slate. Two years ago, at the onset of our dialogue, and just several months before the outbreak of the COVID-19 pandemic, Tony and I hadn’t the faintest idea what the exhibition would look like, how its concept would be defined, or what works it would include. This shared ground zero led to a fertile dialogue that largely evolved on Zoom during the pandemic, while he was self-isolating in the mountains of Colorado or in a cabin in Maine, and I was tucked away in my room in Miami, detached from the world. Once a month, we would meet for several hours online. Step by step, through a process of in-depth study and inquiry, and by means of countless choices and movements through circles of expansion and contraction, the exhibition components came to be consolidated, and its scale was established.
Obscura, 2021, aluminum, projector, screen, acrylic paint, and live streaming from Venezuela