RedaccionThe Juan Ismael Art Center will inaugurate the exhibitions ‘13.30’ by Dailos Ruiz Armas and ‘Close Doesn’t Matter Far’ by Héctor Mar on Thursday, May 15, at 8:30 p.m.
‘13.30’ by Dailos Ruiz commemorates the exact time of a tragic event. On Sunday, June 13, 2004, around 1:30 p.m., the plane piloted by copilot Juan Ruiz Tejera and German pilot Ulrich Cop crashed after performing an aerial maneuver, in the context of the II Aeromodeling Meeting City of Las Palmas de Gran Canaria. With the title of this project, the young artist commemorates the exact time of the tragic event, where his father lost his life, with an exhibition curated by Marcos Rivero Mentado. However, the exhibition is more than an artistic work. It is the culmination of the grieving process and loss of a loved one, shown through the recreation of pain, evocation, and acceptance of an event that can mark a life, of a grown-up child, who dedicates his creativity to exalt the memory of his parent.
Throughout the history of humanity, the worship of the dead has been very diverse and also depends on the religious or mythological context of different civilizations. All these practices fall under the category of memorial rites whose purpose is to promote transcendence and coexistence of the dead with the living. They are based on commemorative rituals, time and place for mourning or grief that aid in the stages of emotional catharsis both individually and collectively. A tradition present in different cultures, both in the West and in the East, is to cover all the mirrors in the homes of the deceased, to prevent their soul from being trapped in this dimension. However, in this unique project, Dailos uncovers that crystalline surface to reveal the mystery of an unknown life, transcending the history of his father from his personal subconscious.
On the other hand, the exhibition ‘Close Doesn’t Matter Far’ by Héctor Mar consists of twenty works in which the author demonstrates his genuine interest in the physical properties of painting. Like a latent body, he explores the limits of the medium, two-dimensionality, composition, textures, structures, and bodies.
After two years of research, which have served to mature the work of this creator, Mar presents a work with a cryptic title «in which I wanted to propose a name in which presence and distance intertwine,» he points out. The intersection between the abstract and the rational, the interactions created on the surfaces themselves and their luminosities, are an essential source of suggestion in the way the Tenerife painter looks.
«If geometry, among others, is also the language of the ruling class (Peter Halley), urban elements tell stories about the pact and social mobility. Looking at columns and color planes that indicate the geometry and established order in cities. It raises the playful need to reorganize urban norms, the reflection of structures in its modern society.»
The Tenerife author uses painting as a tool to «denature» the objects, elements, scenes found in the itineraries of his life and personal experiences. Transferred to the canvas, he shows his notes and amendments in the broad sense of timeless progression.
