22 nov_15 dec.2018
A few notes are necessary to see and understand what was suggested but lost during a month of conversation at three distances between Ana de Fontecha, Esther Gatón and Florence Sweeney.
SAND MACHINE MACHINE
Bubbles. She is looking at herself. This is a text that falls down. She plays with these sand bubbles while taking unusual poses. She has gargled with sand and throws them around, above and below. Not many animals have the ability to recognize themselves in front of the mirror. The sand floats and is suspended, spherical, until it hits the reflection and they explode. The manta ray leaves terrified; thrown above the ground and you chase it. Fast forward, zigzag, flying, over this arid landscape. From behind it looks like a shark and you wonder whether it is worth pursuing it, but you were already doing it and then you continue. Until it is buried. Brakes, has flapped, produces a cloud of dust around her that distorts this hunt and suddenly, it has disappeared. Only two slimy eyes, full of black water, peep on the ground. A ground that breaks and falls to the left. A detachment. All the sand moves in avalanche and you fall with her. A buttress contains you both. All the material is then accumulated in regular storage units. These modules move, one over the other, rotate, smooth. Into a bathtub. Goes down the drain. The shifting pigmented sands. To massage your hair and remove the paste. To chew the head.
I stood up from my bed and wiped the sand from my eyes, walking over to the window hearing the floorboards creak and some sort of sediment drop below.
The spider in the corner of the window has begun to dismantle her web, recycling the previous days efforts, devouring the threads of proteins, producing a new web with greater elasticity and to be as strong as steel, for today’s catch.
I reminisce of the dream catcher my grandmother gave me that was once suspended above my head as a child, collecting and gathering the worries and woes I bore. It sits in storage with boxes of my childhood gathering dust. But I could have those spider webs instead, wafting in the breeze, Grandmother Spider.
The voiles flutter with the window ajar, I look at the lengths of material distorting the light across the room. A veil between us but we are cut from the same cloth. And your mother, my grandmother made those curtains.
‘’Angle of internal friction or angle of repose:
It is the angle that forms the surface of the natural slope formed by this type of sand and the horizontal one. This angle depends on the shape of the grains and their fit in the form of structure. The angle of internal friction determines the size of a slope of roads or the behavior of a foundation. The resistance that opposes the soil to the weight of a building is directly related to this angle.’’
ANA DE FONTECHA
(Madrid, 1990). Bachelor of Fine Arts from the Complutense University of Madrid and the Université Paris-8, Vincennes Saint-Dennis in Paris. She expanded her training with the Master of History of Contemporary Art and Visual Culture taught at the MNCARS and coordinated by the Complutense University of Madrid and the Autonomous University of Madrid. She has exhibited in centers such as Matadero, CarteC, Sala de Arte Joven or INJUVE, in Madrid as well as Centro Laboral, Gijón, Sala Borrón, Oviedo or Piramidón Art Center, Barcelona. With her work she has participated in initiatives such as Open Studio, Madrid, PhotoEspaña, Estudio Busca Talento or Swatch City Festival. Since 2013 she has been working at the mendoza studio together with the artists Miguel Marina, Sergio D.Loeda and Mar Cubero, together with the one who coordinates the hundred and eighteen publishing house.
(Valladolid, 1988). Doctor in Fine Arts for the research Forms of Action and Production of Artistic Practices in the Postfordist Economy. Analysis of its Specific Potentiality. Honorary Collaborator in the Department of Sculpture of the UCM. He has done his studies among the centers of Pomfret School CT (USA). Saint Luc Liège (Belgium), University of Barcelona and Complutense University of Madrid. Produces a work that studies the places where manufacturing considers the stories, legends and tacit discourses that each material has incorporated. And the technique has specialized in recreating with textures, with shadows, with transparencies and with viscosity. This work has been exhibited at El Ranchito Matadero Madrid, unpublished 2017 La Casa Encendida Madrid, Picasso Museum Barcelona, intránsit cartec, Rio Grande Library Brazil, Sala Las Francesas Valladolid, Estudio Mendoza Madrid, Rampa Madrid, Javier Silva Gallery Valladolid, Gallery h2o Barcelona , CENTEX Valparaíso Chile. His interests range from window dressing, to construction games and submersible equipment.
(b. UK, 1991) lives and works in London. She studied BA Fine Arts at The Arts University Bournemouth, graduating in 2014. Her latest works have developed as an amalgamation of sculpture and painting to produce sensory experiences of surface, material and form. She is searching for a closeness that is unknown to her, through a tactile installation. Presenting a selection of specific objects that relate in close or distant ways to one another, the artist weaves painting and sculpture into three-dimensional forms in an exploration of their ‘unknown natures’.