Date: 2020
Author: Martim Brion
The great political currents are over; there is now a piecemeal approach. Very few people believe in communism, fascism or capitalism as it was first devised (although, capitalism being still the most flexible of the three). As in politics, as in art, the great artistic currents (even though most of them were defined after the fact) are over. One has now a conjunction of different views. These views are mostly a mixture of previous ones. As art evolved and engulfed more points of view, more materials, more modes of expression, it became incredibly diverse in its form, approach, and objective. The word art is a wide umbrella nowadays.
Thus, one’s own work at present and mine decidedly so, is a mixture – a mixture where different currents intersect.
My interest with this project is to explore these intersections, mainly the intersection between painting, architecture and sculpture on one hand and photography and space on the other.
How can painting, with its colour, bi-dimensional plain and its central position in the Western canon be meshed into a tri-dimensional form which has only recently “escaped” from the figurative and its subservient role to architecture – architecture, which gave us our spatial perception and how we interpret our living habitat? Sculpture, therefore, is the linchpin, the connector, mixing the classic sense of form and colour with it spatiality and independence. How does one then interpret the final object? This is another crucial point, the viewers’ perspective, how a mixture of practices influences the viewers’ perception of the object and what is inferred from its observation.
In terms of photography and space, the objective is to extend the traditional bounds of photography, which is similar to painting in is dimensionality but capable of endlessly cloning itself, and still with a strong documental focus, which it stole from painting in the previous century. Previously, I have focused on how one’s perception of the photographed object changes due to the way it is photographed. Those cases were snapshots on the go, a sort of a location diary. But now I would like to propose an increase in dimensionality, of physicality, for the photograph, no more a quadrilateral form on the wall, but something which meets us out of this constraint, a step towards spatiality and thus towards sculpture.
Martim Brion 