Tessellation, as an adoption of mathematics related to the full, rhythmic, and non- overlapping crossing of a regular shape, takes the place of another word here. The constellation we associate with the hunter from Greek myths, whose stars we observe well in the northern hemisphere during winter. More than the Orion narrative, which is here indistinct, I think about what a tessellation announces for a human figure: a decomposition, or perhaps recomposition, of its principles. Alongside the night map, the impact of Icarus hitting the ground.
The Tessellation of Orion is also a brief exhibition in two parts:
On one hand, paintings that resemble miniature mosaics to posit the idea of the frontal and the static, originating from a memory of archaic proto-painting capable of connecting with the consumption of the flat icons of contemporary times. Despite apparently disconnected themes, these paintings pursue the symbol and the omen, forming a repertoire of tacit statements not necessarily dissimilar to tarot. This first section of the exhibition stems from a body of work I have produced in recent years, now taking a turn in its relation to reinterpretations of the Mondrian frame, in which the works are embedded in memory of the mural or architectural insertion of mosaic art.
The second part of the exhibition brings together five tessellated aggregations molded in concrete. Their components, usually associated with digital environments, have been prepared by hand, generating rhythm breaks, imperfections, and other differences. The pursuit of production methods whose rules or limitations seem to contradictorily free the expectations of a certain work on the human scale, is an important point for me and one of the central signs of this exhibition, where movement among the forms is contaminated with the foreboding and suspicion of the immediately recognizable.
Christian Camacho
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