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2008 Sculptural Photography
2008 Sculptural Photography
2008 Sculptural Photography
2008 Sculptural Photography
2008 Sculptural Photography
2008 Sculptural Photography
2008 Sculptural Photography
2008 Sculptural Photography
2008 Sculptural Photography
2008 Sculptural Photography
2008 Sculptural Photography
2008 Sculptural Photography
2008 Sculptural Photography
2008 Sculptural Photography
2008 Sculptural Photography
2008 Sculptural Photography
2008 Sculptural Photography
2008 Sculptural Photography
2008 Sculptural Photography
2008 Sculptural Photography
2008 Sculptural Photography
2008 Sculptural Photography
2008 Sculptural Photography
2008 Sculptural Photography
2008 Sculptural Photography
2008 Sculptural Photography
2008 Sculptural Photography
2008 Sculptural Photography
2008 Sculptural Photography
2008 Sculptural Photography
2008 Sculptural Photography
2008 Sculptural Photography
2008 Sculptural Photography
2008 Sculptural Photography
2008 Sculptural Photography
2008 Sculptural Photography
2008 Sculptural Photography
2008 Sculptural Photography
2008 Sculptural Photography
2008 Sculptural Photography
2008 Sculptural Photography
2008 Sculptural Photography
2008 Sculptural Photography
2008 Sculptural Photography
2008 Sculptural Photography
2008 Sculptural Photography
2008 Sculptural Photography
2008 Sculptural Photography
2008 Sculptural Photography
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2008 Sculptural Photography

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CYA

CYA

Published in: Art & Photos, Business
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Transcript

  • 1. Cuerpo y Alma Sculptural photography by Andrés Ginestet © Ginestet, 2006-8
  • 2. The series of photography in this exhibition is dedicated to some of the seven emotions that the artist considers to be the basic requirements for an artwork to become eternal and complete, and for it to transcend the time in which it was created. These emotions are tied to the images of gestation; a metaphor of the anguish the artist feels in the act of creating, precisely when his mind is being fertilized by the original idea. Ginestet puts all the models on the threshold of the door communicating between two spaces: the first one dedicated to painting and the second one dedicated to sculpture. This way, by superimposing the two opposite points of view, there is at the same time a fusion between painting, sculpture and photography. This fusion is both a paradox in its strength and its delicacy and has its counterpart in the three dimensions of the bronze casts of busts, in which the images find aesthetic continuity. Way beyond any sculptural speculation, the images suggest a double dimension with its being fusing the point of view most obvious to the viewer with its subtle counterpart, darkness, thus inviting the onlooker to enter this work (as much as a single piece as a collection of pieces) as if it were one’s own existential enigma. Joan-Francesc Ainaud, 2006 (catalogue Cos i Anima, 2006)
  • 3. adiós
  • 4. no me mires así
  • 5. salgo y entro
  • 6. alúmbrame farolillo
  • 7. predisposición
  • 8. espejismos
  • 9. cruz de sillas
  • 10. aburrimiento
  • 11. forma I
  • 12. himno
  • 13. himnos
  • 14. tentación de amor divino
  • 15. inspiración
  • 16. en memoria de Frida Kahlo
  • 17. sin título
  • 18. two hearts
  • 19. perfección
  • 20. es salvaje
  • 21. sublime
  • 22. calma
  • 23. tempus fugit
  • 24. daliniana
  • 25. reflexión
  • 26. composición 4
  • 27. flor de luz I-III
  • 28. escena de salón
  • 29. nereidas
  • 30. en memoria de un pintor flamenco
  • 31. imploración de la luz – cristal azul
  • 32. imploración de la luz – cristal amarillo
  • 33. imploración de la luz – cristal rojo
  • 34. alma sentada II
  • 35. alma sentada IV
  • 36. emancipación de cruz II
  • 37. shiva
  • 38. shiva blue
  • 39. espejismo
  • 40. indiferencia
  • 41. indiferencia II
  • 42. magia
  • 43. maletas
  • 44. destino de perla
  • 45. guardando la perla I
  • 46. maría de perlas con ángeles
  • 47. ascensión de maria de perlas
  • 48. perla azul I
  • 49. timida

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