Develop of the recently creation artwork 2010 -2011
My works are based in a architectural urban drawing and color using the
A personal lenguage expressing it with different resources
Drips of Acrylic paint , Grid of lines using ink pencil and correct pen over dark surfaces,
Papers selected from art, photographs or fashion magazines .
With all this elements i create a sort of compositions based in the idea of Maps Collages
About the Pictoric work
The City narratives and its system of inner transformation such as its human component are aesthetically and discursively represented in my work.
In the works a sense of non-territoriality seems to clash with the Maps, places and patterns which preceded the rapid expansion Practices and its advanced and modern traces which begun to take place in the beginning of the 20th Century. Such traces replaced the Nineteenth-Century Model of cities such as Paris, as an example, to make reference of an inescapable model such as Santiago’s Structures, and more so for initiating relations between local and global. Such tradition, the Architecture of the 19th Century, has been suspended in History by Modernism not only in architecture but in the visual arts as well, which is where the work indicates the movement of urban and aesthetic structures through the paintings.
In today’s world the edification scene is a spectrum that varies rapidly in time, which calls for adaptation and mutation. Because of a series of belligerent, political and economical reasons, cities have experimented structural changes, in a contract with powerful conventionalities such as agreeing and belonging to the globalized world. notice the rhythm, the speeding urban process, create a visual proposal which distances from evidence and emerges from traces, lines, colors and stains, a personal vision about time and space variations reflected in today’s urban structures.
From an aesthetic point of view, the work can be categorized into two different spaces: the panoramic Urban Growth scene portraying different directions and points of view, and in another plane, more engineered landscapes which depict a direct relationship between men-kind in its habitat, the City.
Starting with the first Space, Panoramic Landscapes; an aerial point of view which depicts the shape of an architectural floor-plan view, as a two-dimensional projection space. Never the less at the base of each floor-plan some new dimensions occur and they mesh into the interior of the fabric, generating tensions and hybrids which reference the constant map transformations, blueprints, which where original at first and now opened-up and distanced themselves into a more cubist style which suggests a stare of tension applied to the portrayed object. There is a narrative which presents memory crisis, its vulnerability, because in the spectacle of “the contemporary”, the happening cities have restructured their history through political access to the capitalist market model.
I express in my paintings, the relationships between stable and mutable, between permanent and ephemeral, while building a reflection space about the limits of domestic elements within a moving scene into an undetermined and generalized space, open to endless directions which exceed the architectural plan-view. Through such technique, perspective amplification, I state the territory crisis as a unity within time, becoming the architect of eternal transformation.
From another angle, in most of my work is present there, the invalidation of the local, favoring the global territory, as if the dividing or geographical lines would be displaced by the globalized model, understanding urbanism at a parallel level to the interior in a scene guided by the postmodern access. Finally, the large canvas format act as a vehicle to the origins of landscape paintings, due to its long horizontal format, alludes to a media tautology as another strategy to board the intersections of the city in the pictorial field. Such pieces reference the contemporary and Latin-American art, the works of Kuitca and the German artist, Michael Wesely and his displays about urban mutability through the art of photography.
On a second ground, Least Panoramic Paintings, which in photographic terms could be described as details or close-ups, the stain appears the trace which remits “the organic”, men-kind, a palpitating chaos located at the center of the screen, captive within the interior of the picture. This is when the city concept managed and guides from the human to the interior of the horizontal and the vertical that happen in the canvases but it is possible, never the less, through contemporary representations about the Urban. This is a critical revision confronting the urban capability and life quality, insisting in threatening trouble of metropolitan growth. In this sense, I propose a visual perspective where the regular and continuous traces are modified from the original due to proactive displacements and interventions of urban transformation and the repercussions of such. There is also a permanent sign in this painting segment: the Cross. Such icon can refer to the freedom paradox symbolism as well as the geometrical element referring to the movement of the “only point of view” monopolized in the west by Brunelleschi first and later conquered by the photographic camera. The cross, then, as territory denial, or the demographic map (where the reference to Guillermo Kuitca, emerges again) and as the basic geometric layout that refers to the different expansion and makeover possibilities within the city. It all generates thoughts of movement, chaos and tension translating into constant environment transformation, everything contained in humanity, from its frame to its bedroom.
Referring to both proposed spaces, the module appears as the symbol of a fragment, of fusion, as a tool that intertwines a modifiable total, the module is, in itself, a mechanism allowing for infinite results. In this sense, the module’s ontology does not only pertain to the visual arts but to its daily use as well, its sustains in the poetry of possibilities, to the undetermined, the destruction and re-building of a never ending total.
The work is about a new proposal for the urban plot depicted mainly through the art of painting, but a photography containing painting, graphics and installation, indicating from this media-merge an analogy to urban hybrid systems and the intervention of several visual representation media.
RODOLFO EDWARDS CV
Born in 1981 . Santiago. Chile.
2010 - Currently
International 4 years program in
The Arts Student League of New York. New York
2001-2007 Architect and Urbanism .
Pontificie Universidad Católica de Valparaíso. Chile.
Impossibles Mapas . Trece Art Gallery. Santiago.Chile
Panorámica . Modigliani Gallery. Mendoza. Argentina.
Producción Urbana. Juan Egenau Gallery. Santiago . Chile.
Words on sky. Design Store. Miami .USA.
Vertical Images. Carla Fache Gallery. Miami .USA.
March 28th 2013. Cosmobilities / Group Show . Rowen University Art Gallery. NJ. USA
March 14th 2013. Re-Imagining Past Possessions / Group show . Transform Gallery. New Rochelle .NY.USA
March 2nd 2013. Diptych, Triptych and Others / Group show . CWOW Art Space . Newark . NJ . USA
Sept 2012. Illusory Correlation . 3rd Bronx Latin American Art Biennial . Bronx. New York
Oct 2012 . Dialogo 365: Carpe Diem Exhibición . City Hall . Philadelphia . USA
Jan 2012 . Exquisite Corpse. The Historic Essesx Market. New York. NY
Jan 2012 . Paralelos Imposibles. Abrazo Interno Gallery. New York. NY
Dic 2010.Most Wanted . Amy Alonso Gallery . Miami .USA
Jan 2010. Color Society. Boulevart Ciudad Empresarial Gallery. Santiago.Chile.
April 2009 . Réplica. Santiago Nattino Space. Santiago.Chile.
Oct 2008. Punk Remake. Casona Brasil. Santiago.Chile.
May 2008. La Leidelmono. Consejo Nacional de la Cultura. Valparaíso.Chile.
March 2008. El Bosque . Palacio Cousiño. Santiago.Chile.
Art Miami Context 2012. International Praxis Gallery .
PINTA Art Fair New York 2012 . International Praxis Gallery .
Governors Island Select Art Fair 2012 . During Sept 2012.
Adquisition Art Piece to the Permanent Collection of The Arts Student League . NY
Charity Auction . The Exquisite Corpse . The Intercourse . Brooklyn.NY
LAP Expo Shanghai. Galería PM . Shanghai. China.
WHITE BOX Gallery Spring Benefit Auction 2012. New York. NY
The Red Dot Award, Phyllis Harriman Mason Gallery, New York. NY
The Henry Matisse Estate Scholarship Award.New York. NY
Art Basel Miami . Amy Alonso Gallery. Miami . Estados Unidos.
Feria C.H.A.C.O. Galería Abeliux & Caorsi . Santiago .Chile
April 17th 2013. Continuum / Solo Show . Gallery Space At Wagner . New York. USA