After having spent over half my life in a museum looking at paintings, I think it’s natural for this sort of thing to happen. It could be that this is my way of making up games. Like Alice, of going places without leaving home.
In his poem Alchemie du verve, Rimbaud already mentioned how he’d invented the colour of vowels. I never understood what the relation between each letter and colour was, I never found any logic to his values. He should have explained them.
Of course- Piet Mondrian. Besides abstraction and the use of primary colours I don’t see a further connection. I’ll never forget the day I saw the painting that marks Mondrian’s transition into abstraction, the one with lights reflected on the sea as seen from a dock. That’s when I understood you could say things without saying them.
Besides all the metaphors and images there are in e. e. cummings’s poems, I think what more interested me was always the way he played with words in space. To translate all these games you had to make up others.
Speaking of word games and mathematical mechanisms when you write- Lewis Carroll’s nonsense. Also the fact that the story and drawings are pretty-childhood memories that later merged with my understanding of the former. That’s where my second tattoo came from.
A: absence. Absence of colour: black. U: union. Union of colours: white. The other primary colours correspond in decreasing order to vowels and their proximity to the end of the alphabet, meaning: E: blue, I: red, O: yellow.
There had to have something done with all these great names lingering in my life and in my head. What’s wrapped up in the letters of a name. The absurdity of talking about someone in this way, in colours, in sensations.
As far as obssessiveness is concerned, I think that’s more of a family trait.
Artist Bio / CV
MEXICO, 1970 SOLO SHOWS (sellection) 2007 The Limit. Projection of the documentary and book launching. Cine Lido. Mexico city. 2006 1 1/2 Centro Fotografico Alvarez Bravo, Oaxaca, Mexico. 2005 Nombres Propios. Galeria OMR. Mexico City. (w/ Sam Samore) 2002 &. Galeria OMR. Mexico City. 1996 Sal. Galeria de Arte Contemporaneo. Mexico City. GROUP SHOWS (sellection) 2008 Interventions. Casa Estudio Luis Barragan. Mexico City. 2007 7th Photo Triennial. Esslingen. Germany. 2006 Underplayed. Yerbabuena Center for the Arts. San Francisco Salon. S1 Art Space. Sheffield, UK. 2005 Declaraciones. Museo de Arte Reina Sofia. Madrid, Spain. Art Sheffield 05: Spectator T., Sheffield, UK Deriva Mental. Museo Tamayo. Mexico City. Strategic Questions. Kuenstlerhaus Bethanien, Berlin 2004 ISCP The first ten years. New York, NY White Noise. REDCAT, Los Angeles, California. USA Multitaskin. Galería OMR, México DF 2003 Smoked Mirror. Apeejay Media Gallery. New Delhi, India. Outside of a dog. Baltic Center for Contemporary Art. Newcastle, UK. VII Salon Bancomer. Museo de Arte Moderno, Mexico City. 2002 Reflex. Art & Idea. Mexico City. Objeto encontrado. Centro de la Imagen. Mexico City. 2001 Sur-Face. Lunds Konsthall. Lund, Sweden Gather and tell. Mexican Cultural Institute. New York. 2000 Migration Patterns. Comissioned piece. Whitechapel Art Gallery. London II Festival de Arte Sonoro. Mexico City. PUBLIC COLLECTIONS The Brooklyn Museum of Art. Santa Monica Museum of Art. Centro de la Imagen, Mexico. Sprint Collection, USA, Instituto de Artes Graficas de Oaxaca, Hammer Collection, USA. La Coleccion Jumex, Mexico, The Henry Art Gallery, University of Washington, USA. OTHER ACTIVITIES 2007 Commission to do rooftop pool at Hotel Purificadora, Puebla, Mexico. 1998 Guest editor of Luna Cornea magazine nr. 18 1998 FE. David Byrne. Centro Fotografico Alvarez Bravo. Oaxaca, Mexico. Curator ¡Que triunfen los extranjeros! Gabriel Orozco. Centro Fotografico Alvarez Bravo. Oaxaca, Mexico. Curator. 1996 Francis Alÿs. Thomas Glassford. Museo de Arte Contemporaneo de Oaxaca. Curator.