- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -


Exposure data: "Plastic Theory"
Artist: Ugo Martínez Lázaro
City cedes:
Madrid, Institute of Mexico in Spain - IMEX.

Confirmed dates:
Inauguration: Thursday, December 14, 2017
Finissage: Thursday, February 22, 2018
Closing: Sunday, February 25, 2018

How many times, Ugo Martínez Lázaro (México D.F.,1974) has found himself in the complex position of being a Mexican artista projecting from unexpected stereotypes; being questioned by a western point of view that search in his work for social critique elements of the violent Mexico or ever worse, the folkloric and kitch. From his immigrant condition, settled in Madrid for more that a decade, Martínez Lázaro has developed a significant amount of procesual changes in response to a search and repositioning of the creative subject now framed in a European context; in a constant departure from comfort zone with the auto-imposition of the up-coming challenge within the experimental, until arriving at the work series that, most of them, will be part of his up-coming exhibition, Teoría Plástica, that will takeplace at the Instituto de México en España (IMEX) during December.

But the artist is consequent with his cultural background legacy, to which be continues to be attached, and utilize as a prism to reinterpret his context, as a fusión of époques, styles, and manifestations that conform his actual reality with a practical analysis of the individual, faced by basic survival necessities and spiritual motivation: shelter, food, friendly environment, rehabilitation of feeling spaces and finding himself. Is that the essential preoccupations of concern to the immigrant that mostly come from South; in a dialog that explode in controversial emotions towards a new geography, in a battle of contentions that have taken him to a measured integration of a globalized individual, and distance from those preconceived ideas that we use to look at in Art at the moment we turn South.

Teoría Plástica presents thu the author´s the day-to-day simplicity, a dialog between Mexican pictorial tradition and contemporaneity that are fundamental in the conception of sculptural pieces and art installations with as much reminiscences of the american baroque and muralism as those Found in mínimal art, by means of the juxtaposition of influences, cultural and aesthetics that have contributed to the artista development; in this coast over coast an almost explosive path in being layout from the national and local to the international and global, arriving along the process to a unique criteria about such disjunctives; coast ever coast that the artista also utilize as main technique at the momento of applying acrylic painting over those pieces pretending and aiming to reinforce the ancestral power of color.

Ugo Martínez expands and make use of the subject as a measure, in a field of reflexions where the immediacy of the artistic practice aims to the value of a research clearly base don painting, drawing, and caricature; manifestations that conditioned milestones along the evolution of his work.

In honest synthesis of languages and resources, make use of a variety of tolos, most relevantly his architecture studies(1) to design these personal spaces, in compositions wehere he masterfully incorporates domestic objects, altering their dimension during the intervention with typical building materials: acrylic paints of strident palette, polyurethane foam, ropes and wood.

Also, the recycling of disposed materials and debris, often from industrial origin or simply finding on decaying urban sites; that on one side allow him to keep in touch with the marginal and on the other, provide him with an arsenal of silhouettes and forms that fuel his inspiration, often, conserve cans, packeting materials, and pieces of wood. He works by contrasting materials until he finds the wanted combination for a perfect fusión, thanks to the formal impeccability of the pieces: lack of narrative due to deir abstract carácter, and divorced from any accommodation that does nos exhibit flat and vibrant colors, the simplicity of form, and the richness of texture.

The ludic idea of divertimento prevails when, at moments, recreates an infantile universe with no other pretensión that to establish the ironic game of  frugal positioning in the classifications’ distortion and the enjoyment of the artistic gesture. In the case of covered objects with plastic or acrylic paint,(2) the ludic is manifested in the incitation of the tactile experience of the rubbery, smooth, almost erogenous surfaces and the similitude with the latex and silicone; are treasured as a second skin that covers and hides the real material  –organic or not– of the object; artificial and at the same time admired from the visual point of view, when food like breads, plantains, or sushi is utilized. On the others hand, in the explosions, a scenario of absurdities is presented wherethe imaginative turns at moments into black humor, offering the observer small bites made of foam and Wood, or explosive popcorns that expands until exteriorizing in the art work per-se(3). Furthermore, the game is established from the emotional, with the impact of objects in the individual conscience, either by the impact of color or the disorderly explosión of the containes material, compact and porous; vulnerable at the risk of immmediate rupture.

Along the exhibition, we will witness the deconstruction of those “stills” and colective space that constitute the actual artista’s visión; which dispense notes of intímate “bodegones”, reinventa n imaginary world departing from hiso en existential preoccupations and in the perception of being absent; Ugo Martínez, takes ever in the brevity of an instant, those personal and social empty spaces that ablige him to present himself from the honest standpoint of an artista that does not fear to admit his steps from the fascination to the stupor at the momento of realization of his work; the perseverance in it, has taking him to a balanced dialog open to change, where the most complex of the plastic theory lives indissolubly with his children’s voice upon wake up, or the back and forth of his ideas, on the way to his studio, in this city, that he feels his own.

Yaysis Ojeda Becerra, art critic and researcher (Madrid, december 2017)

(1) Ugo Martínez graduated in Architecture studies from Mexico University of Technology (2000), and since then be Found himself influenced by the architecture and art of the artista and architect Juan O’Gorman (1905-1982), some of his ideas he will materialize in future project, including this.
(2) The use of this plastic material is also an special greeting, almost a celebration, to be work of the muralist David Alfaro Siqueiros (1896-1974), who was among the first to propose the use of acrylic paint for the elaboration of murals over exterior walls.
(3) Several Latin-American artists have employed food in the past, to converse a variety of concepts and issues; some from the irony of the political commentary, like in the case of the artwork titled Galletas Dulces from duo Los Carpinteros, that was exhibited at the art show El Pueblo Se Equivoca at the Gallery Fortes Vilaça, San Paulo, Brazil (2015); in it, the artists by means of an art performance, invited the public to taste cookies showing political phrases taken from brazilian newspapers, meanwhile a pleasant smell of baking confiture surrounded the audience.

Teoría plástica: from explosion to integration. Ugo Martínez Lázaro. Gafas RGB.
Gafas RGB, 2017 / Object with acrylic paint / 5 x 14 x 14.5 centimeters

Teoría plástica: from explosion to integration. Ugo Martínez Lázaro. Bocata uno.
Bocata uno, 2017 / Plastic paint object / 18 x 17 x 15 centimeters

Teoría plástica: from explosion to integration. Ugo Martínez Lázaro. Rosando el trópico
Rosando el trópico, 2016 / Plastic painting object / 46 x 14 x 3 centimeters

Teoría plástica: from explosion to integration. Ugo Martínez Lázaro. Entortado.
Entortado, 2016 / Wood and expandable foam / 11.5 X 94 X 40 Centimeters

Teoría plástica: from explosion to integration. Ugo Martínez Lázaro. La estática del tiempo.
La estática del tiempo (diptych), 2017 / Acrylic paint and expandable foam on canvas / Measures variables

Teoría plástica: from explosion to integration. Ugo Martínez Lázaro. Folklore cubista.
Folklore cubista, 2017 / Acrylic paint buckets inside wooden crate, for types / 80.5 X 54 X 3 Centimeters
(123 pieces different sizes)

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

Adamastor Inc © 2017