JORGE PERIANES
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Untitled, 2005. Madera, pasta de madera, fimo, pintura acrílica y esmalte acrílico. 30,5 x 20 x 21 cms.


Untitled, 2005. Madera, pasta de madera, fimo, pintura acrílica y esmalte acrílico. 30,5 x 20 x 21 cms.


Untitled, 2005. Vidrio, madera, pasta de madera, fimo, pintura acrílica y esmalte acrílico. 28 x 11 x 11 cms.

Solo exhibition at the ESPACIO de PROYECTOS.
From March 16 to April 22, 2006.

Autographic text.

Ambiguity is the word that one can get from a first viewing of my work. The union of confronted opposites, attractive figures in doubtful acts: are they trapped beings, or are they enjoying themselves? Are they hiding ominously, or are they playing with the viewer? Are they real creatures, or just harmless dolls? Stateliness, melancholy and nihilism are what the figures expel. A mixture made up of apparently naive and childish images and in uncertain, slightly cruel or playful situations, a subtle criticism of incompleteness and fragmentation of reality. Irony before life — but never cynicism. The animal as a metaphor, and fragmentation, or partial disappearance, as a sort of nostalgia for unity: symbols, fabling, nostalgia and, ultimately, hope.

Recently, I have been focussing more on sculptural pieces for their actual nature and for the implications this has on today’s world. Sculpture does not represent, but creates a new entity, enlivens the object, has a soul and can be manipulated “it is alive, but it is not a threat”, said Gombrich. In addition, an exploration of shapes can still be rehearsed in it. Therefore, I find it a perfect means for an attraction-repulsion play intending to provoke in the viewer a tactile dizziness and a confident approach to a work with a hidden tragedy (ever present in all beauty), melancholy and disillusion. A work, thus, elegiac, subtly disturbing, of a cataloguing import, visual (pictorial), painstaking and ironic.

The exhibition I have prepared for the project-room of Fúcares Gallery is made up of three separate installations integrating my pieces (sculptures-objects) in a prepared setting, adjusted to the gallery’s space. My work, deeply symbolic and metaphoric, starts from an ongoing reflection on the concept of man (curiously absent in my work). This is what the recreated wood says to us with its uninhabited birdhouses, and also the installation of numerous pieces of meat and the chained bird eyeing them. I have reviewed the concept of still-life through a series of small pieces lined up on one of the room’s walls: micro-tales narrating myths and existential problems in a (supposedly) minor key. Metaphors, then of desire, but not of real desire, that is anachronistic and does not correspond with the essence of being. Frustrations, cruelties, dislocations and odd ambiguities are born from this imposed situation. Fable and myth operating as carriers of concepts. Birds cannot dwell in their beautiful small houses due to the bizarre cruelty of a creator who has forgotten or deliberately omitted an entrance, a backdoor and so on.

Ambiguity and insecurity are also the two main concepts arising from the observation of these pieces. A double sensation manifests in the viewer: something disturbing appears — we might even say sinister. The common and the ordinary get confused; a disproportionate multiplicity brings us nearer to terror and strangeness, something happens and eludes our understanding without our knowing why. A subtle change brings about chaos, a reflection of human fragility. Kindness conceals the terrible inside (just like beauty, as remarked by Rilke).

Additionally, other recurrent approaches in my work can be felt, such as metaphor, irony, alienation, etc., but mostly we encounter fable — from the current impossibility of narrating through direct human discourse, now that its identity and credibility are in crisis, the need of fabling has been born. The animal brings us to the concept in a more graceful and apparently distant way — so we seem less affected; it is a tale, the issue is accepted without censorship. It is an old resource of tested and necessary effectiveness. It is a tale told to the current man-child.

Jorge Perianes.


Untitled, 2005.
Madera, pasta de madera, fimo, pintura acrílica y esmalte acrílico.
30 x 20 x 12 cms.


Untitled, 2005.
Madera, pasta de madera, fimo, pintura acrílica y esmalte acrílico.
36,5 x 45 x 15,5 cms.


Untitled, 2005.
Madera, pasta de madera, fimo, pintura acrílica y esmalte acrílico.
30,5 x 20 x 21 cms.


Untitled, 2005.
Madera, pasta de madera, fimo, pintura acrílica y esmalte acrílico.
30,5 x 20 x 21 cms.


Untitled, 2005.
Madera, pasta de madera, fimo, pintura acrílica y esmalte acrílico.
30 x 21 x 21 cms.


Untitled, 2005.
Vidrio, madera, pasta de madera, fimo, pintura acrílica y esmalte acrílico.
18 x 12 x 12 cms.


Untitled, 2005.
Vidrio, porcelana, madera, pasta de madera, fimo, pintura acrílica y esmalte acrílico. 14 x 19 x 19 cms.


Untitled, 2005.
Vidrio, porcelana, madera, pasta de madera, fimo, pintura acrílica y esmalte acrílico. 14 x 19 x 19 cms.


Vista de la exposición


Vista de la exposición


Vista de la exposición


Untitled, 2005.
Madera, pasta de madera, fimo, pintura acrílica y esmalte acrílico.
173 x 30 x 43 cms.


Untitled, 2005.
Madera, pasta de madera, fimo, pintura acrílica y esmalte acrílico.
30 x 20 x 12 cms.


Untitled, 2005.
Madera, pasta de madera, fimo, pintura acrílica y esmalte acrílico.
30,5 x 20 x 21 cms.


Untitled, 2005.
Madera, pasta de madera, fimo, pintura acrílica y esmalte acrílico.
30,5 x 20 x 21 cms.


Untitled, 2005.
Madera, pasta de madera, fimo, pintura acrílica y esmalte acrílico.
39 x 19 x 19 cms.


Untitled, 2005.
Vidrio, porcelana, madera, pasta de madera, fimo, pintura acrílica y esmalte acrílico. 14 x 19 x 19 cms.


Untitled, 2005.
Vidrio, porcelana, madera, pasta de madera, fimo, pintura acrílica y esmalte acrílico. 14 x 19 x 19 cms.


Untitled, 2005.
Vidrio, porcelana, madera, pasta de madera, fimo, pintura acrílica y esmalte acrílico. 19 x 15 x 15 cms.


Vista de la exposición


Vista de la exposición


Vista de la exposición