Vindauga

[Updated with images from the gallery, more images of the pieces, and the artist's statement; all courtesey of the artist]

Here is a review from the Miami New Times.

Guerrier has previously used photography as his medium of presentation, but this body of work relies on a mixed medium of ink, graphite, photocopies and watercolor (The Miami reviewer, Alfredo Triff, mentions photographs as part of the show, but I could not locate any of them [see updated images below, including photos]). Unfortunately, I have only been able to find four images from the show online, all of which are too small to make out detail, such as the text that is present in some of the pieces. Triff compares the text in Guerrier’s pieces to society’s overabundance of “dispossession” based on ideals originally presented by Guy Debord. He also reads a great deal of symbolism into the drawings, especially a symbol he refers to as a “corbel.”

I look forward to the opportunity of seeing the entire body of work for myself, and I recommend making the trip to the Fredric Snitzer Gallery to see the show if you have the chance.

The artist’s statement:

Loss/entry/return offers works based on a journey of perception. Drawings, photos, sculpture and sound are the tangible manifestations of moments along the way. As in previous works, this project is anchored in my interest in phenomenology and in the composition of an identity through the photographic exploration of my urban/suburban experience. Though this project’s impetus is photographic, drawing embodies its explorative and narrative core. The drawings, which feature xerox-transfered images from photos, are variants on spatial points; points organized into narrative. The drawings are an attempt to suspend motion of travel in order to take apart moment itself. The drawings function as the explorative/conceptual space which savors the images, symbols, color, light, the rhythm and time.

The sculpture, minimal in form–more Oiticica than Judd or Andre–acts a new experience, the objectification of the phenomenal, moving from drawing in our space. The title refers to three songs (Le voyage du Pere, Le domaine de la Bete, La Belle va au chateau) in Philip Glass’s opera based on/made to accompany Jean Cocteau’s “La Belle et la Bete”. In these songs, the melodies and the repeating serial harmonies enthrall the listener in the journeys under took by the characters in the film. The father, lost in the forest, stumbled upon and entered the enchanted castle of the beast. While in the beast’s lair, the father moved from loss to wonder and discovery. And as we accompany Belle in her self-sacrificing journey to the castle, we return to a place of transformation, of great potential in one the evolution of all the characters involved in the narrative.

Loss/entry/return is thus a project about perception while voyaging from indeterminacy to clarity, from vastness to specific identity.