Homostalias Arquea Appaloosa is the artist Glauber Ballestero’s new proposal, exhibited in La Acacia gallery during December and January. The exhibit consists of drawings, resins, and video installation. It allows approaching the discursive aesthetics of this artist, one can notice from the first contact with his works, symbolism that these contain, since they produce different interpretations and effects on the public, from own interaction with them until the time of trying to extract its meaning. Thus he intervenes and appropriates all the space when installing white barriers on the gallery floor connecting pieces. It could be a gap between reality and that reality, other than the artist invents. But rather than establishing a boundary between work and viewer is an invitation to decode and enter a world where order, balance, purity, and peace become pillars.
So, in Appaloosa universe, the white color becomes a symbol, hence reading the works involve establishing connections between them from their use. White color- representative of harmony, peace, and serenity- becomes motive and pretext that articulates the visual and conceptual load of his pieces, and although the predominance of white is clear, colors are present, since white is just the overlapping spectrum of colors.
If we walk around this exhibit, the video installation is piece which in a certain way synthesizes and forms the basis of the exhibit. In it we see a white panel lying on the floor, on which a container of white paint is located. Homostalias Arquea germinates from it. This plant, according to the artist, causes a state of perfection and balance. Meanwhile, the video plays a series of rendered images of existing audiovisuals, edited and converted into a single sequence having individuals performing a series of daily activities. Both elements are erected as the basis on which the creation of these works is based: the rising of a plant from white color bringing peace, tranquility and stability- tirelessly state we aspire, and images of transcendental moments or not belonging to life. Glauber from there creates a series of eight drawings, as sketches on a white background placing above white wax inlaid.
However one of the most impressive works is the drawing of a human figure shown from the back that reminds one of Jacques Louis David’s bathers, tearing her skin, scenario in which you will discover a parallel between the work involved in the process of creation, which means not only physical draining but also intellectual, where he has left body and soul. This set of photographic prints inside resin capsules involves destruction act for the artist when working with highly toxic substances that threaten his physical condition, so that it is essential to use protective suits when designing these pieces. This harmful action is not relevant but provides a product of impeccable proposing images covered by this resin while whitening, but gradually discovering themselves before our eyes.
Despite this, it is possible to reach a state of perfection, even though it may be fleeting, it is there, and it is a set of patterns of personality assessment designed by this creator and presented to a group of scientists for select eight. These pieces generate a contrast between these perfect and those “imperfect” forms in the small fragments of wax observed in the surface of the canvases; contrasting peace and unrest. Recurring contrast again and again in the course of life and it could be reinforced from use of number eight, vertically formal symbol of infinity present in these series of eight pieces each.
Glauber Ballestero encourages us through these works to reach, to go through the barrier that leads to Appaloosa, to enter a world of serenity, to try to capture that moment of peace, harmony and light in every moment of our lives.
Courtesy of images: Glauber Ballestero