Probing the material, thinning it, until it reveals the stigmata of its history, the inscriptions that testify to its relationship to the world, its relationship to the artist's hand in constant negotiation with it. Faded fabrics, translucent leathers, burnt metal blades... Amandine Guruceaga's sculptures are the result of alchemies in search of limit states of ordinary materials. It is then under the tutelary figure of the strange and the foreign that they return to invest our space, to ask us their enigmas, renewed.
Amandine Guruceaga began by working with wax, the African fabric originally developed by the colonists in order to trade it, bleaching it in order to reveal the "reactions" of the material, the patterns that in places disappear or, on the contrary, persist. She has since produced a series of translucent leathers like stained glass windows - the result of a residency at the Riba Guixà tannery. On these skins appear the veins, bones and scars of the animal, stretch marks favored by the intensive breeding to which it was subjected. "The history is inscribed in the material," says the artist.
Amandine Guruceaga, in a gesture of revelation, of care, moves it. There, skins with chlorophyll hues, caught in their light boxes as between the lamellae of a biologist, seems to propose a synthesis of the organic order, animal and vegetable (series Myth Tartar, 2017). Here, the multiple colors of a patchwork of leathers are superimposed in the center of the composition, before unfolding around this centrifugal vortex: they enter into relationship, as on the painter's palette (Acid Mix Pergamine I, 2017). "Relationship is our way of changing ourselves by exchanging with the other, without losing ourselves, nor denaturing ourselves," said author and philosopher Édouard Glissant, often cited, rightly so, in the face of Amandine Guruceaga's work. Her sculpture Su lengua afilada (2017) thus combines a piece of transparent leather and a thin strip of steel with uneven and moiré contours burned by the flame of a blowtorch - another exercise that the artist is fond of - which serves as its support. An aesthetic all in contrasts, between massiveness and instability, sharpness and fragility. One thinks then of the third place that is the intimate, according to the philosopher François Jullien, this indefinable beyond where is constituted the meeting, irreducible to the identities which compose it. In the same way, Amandine Guruceaga's work seems to play with borders, between painting and sculpture, between art and craft.
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Who is the artist?
Probing the material, thinning it, until it reveals the stigmata of its history, the inscriptions that testify to its relationship to the world, its relationship to the artist's hand in constant negotiation with it. Faded fabrics, translucent leathers, burnt metal blades... Amandine Guruceaga's sculptures are the result of alchemies in search of limit states of ordinary materials. It is then under the tutelary figure of the strange and the foreign that they return to invest our space, to ask us their enigmas, renewed.
Amandine Guruceaga began by working with wax, the African fabric originally developed by the colonists in order to trade it, bleaching it in order to reveal the "reactions" of the material, the patterns that in places disappear or, on the contrary, persist. She has since produced a series of translucent leathers like stained glass windows - the result of a residency at the Riba Guixà tannery. On these skins appear the veins, bones and scars of the animal, stretch marks favored by the intensive breeding to which it was subjected. "The history is inscribed in the material," says the artist.
Amandine Guruceaga, in a gesture of revelation, of care, moves it. There, skins with chlorophyll hues, caught in their light boxes as between the lamellae of a biologist, seems to propose a synthesis of the organic order, animal and vegetable (series Myth Tartar, 2017). Here, the multiple colors of a patchwork of leathers are superimposed in the center of the composition, before unfolding around this centrifugal vortex: they enter into relationship, as on the painter's palette (Acid Mix Pergamine I, 2017). "Relationship is our way of changing ourselves by exchanging with the other, without losing ourselves, nor denaturing ourselves," said author and philosopher Édouard Glissant, often cited, rightly so, in the face of Amandine Guruceaga's work. Her sculpture Su lengua afilada (2017) thus combines a piece of transparent leather and a thin strip of steel with uneven and moiré contours burned by the flame of a blowtorch - another exercise that the artist is fond of - which serves as its support. An aesthetic all in contrasts, between massiveness and instability, sharpness and fragility. One thinks then of the third place that is the intimate, according to the philosopher François Jullien, this indefinable beyond where is constituted the meeting, irreducible to the identities which compose it. In the same way, Amandine Guruceaga's work seems to play with borders, between painting and sculpture, between art and craft.
What are his 3 main works?
What is Amandine Guruceaga’s artistic movement?
The artistic movements of the artists are: Where Art Meets Design
When was Amandine Guruceaga born?
The year of birth of the artist is: 1989