Yasser Piña Peña
My work starts with a reflection that activates points of interest in the construction of a poetry that employs the formal pretext for support or conceptual structure of it. It comments social meanings, evoked as a kind of metaphor, where the expressive resources are built by the activation of patterns and operations, related with the essentialist aesthetics of the Minimal.
The method which marks the intention of bringing the representational medium to a poetic level, finds its meaning in the appearance of the work that is activated as a tool and defines the purpose of it. The result is an economy of expression that operates in the configuration of a semantic structure, where the formal references become elements that articulate the story through genres like the still life, the portrait.
These estimates, made formal and operational exercises, work as a tool by turning the figural aspect of the proposal, into a content directed towards areas erected from perception and bring into play the semantic limits of representation. Thus, certain codes potentiate a structure of meanings in my work, close to representational models activated from their visual appearance.
The interpretation of reality stems from the employment of visual resources, materialized by the selected media and used as a perceptual conditioners for the replacement of one reality for another by its representation. Sometimes, the attitude becomes ironic, through the manipulation and the pose of the form as the signifier in the work. Here is where the artistic answers lie and which I assume as the essence of the art object.
This way of assuming the image is connected with the object, from the aesthetic proposals I address, driving, and somehow transferring, the object to a new relationship with the being and which inevitably changes the way we interact with it. This process as a symbolic structure is related particularly to the way a ready-made operates.
The intention of seeking a gesture becomes latent in my work. This operates semantically in the re-writing of the object, previously perceived by its signified theatrical presence. As an artistic practice I assume a kind of game, sometimes approached by a certain cynicism, in which arguments of a social nature, involve the very existence of man in the aesthetic standards that make my symbolic production. It’s like a visual maneuver where the bases for meaning become a strategy oriented conceptually from the representational.