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The Otis Faculty Development Grant helped fund the creation of the artwork described below. It was exhibited as part of the contemporary artist solo projects, Intervenciones, at the Museum of Modern Art of El Salvador. This was the inaugural year of the project series.
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Renée Petropoulos
Prototipo para la(s) Historia(s) de la Pintura:
Eingrouping: Socio Histórico Latinoamérica.
(Pared Uno)
30 de junio.
La huida.
Iyare.
Círculos viciosos.
Nana-Watzin.
Labyrinth.
Fusilamiento.
Presenta.
Minnie.
(Pared de Vidrio)
Concepto espacial.
Los próceres le reclaman al puebla
2. Autorretrato.
Les transformes.
Eclosión.
Los mulatos de esmeraldas.
Contraste.
Primera vibración.
Zero dollar.
(Pared Tres)
La guerre.
Birdcage.
No combustible.
8 Survivors.
The White Gods IV.
Experiment con formas relacionadas.
Proyección de una cacería.
Dibujo.
Obelisco de pan dulce de la serie Los mitos y la ley de la gravedad.
Banana Republic ropaje.
Souvenir Series: Oro Negro.
Vinil, yeso y pintura sobre paredes; banda Sonora (duración 103 minutos); plywood y esponja; texto.
Dimensiones variables.
2005.
Colección del autor.
Sound File #1
Sound File #2
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The project, (2) Prototype for the History(ies) of Painting: (Eingrouping): Social Historical Latin America, is specific to linguistic and visual expressions relating to the genre of social historical pictures. As in the previous work, the works selected to become surrogates (rectangles of color) meet both linguistic and pictorial criteria. The work is then organized by "title" with the single rectangular color determined by the most dominant color of the referent artwork. The work is composed of vinyl, chalk and paint applied directly to walls, glass and other surfaces.
For the second prototype, similar means of selection and structure are employed. For instance, the specific translations between English and Spanish are highlighted. As the work moves around the space and climbs up the walls, the various systems and structures become visible. Methods of indexing from title, subject, artist, color form some of the starting points. Initial selection began with paintings made in El Salvador.
In the previous project, the work mirrors itself from one side of the space to the other. The viewer is "caught" between the walls of the work. Each rectangle, i.e. surrogate painting, reflects itself. The areas depicting wall treatments (stripes, flowers, etc.) change from side to side. The bench stands adjacent to the space in a similarly lit area. (One area being the elaborately covered walls, and the other contains the title card and the white gallery walls.)
For this installation the windows and adjacent viewing areas to the space have been considered. The work continues around the space including the actual architecture of the museum with the depicted architecture of other institutions. Seating has been created to punctuate "seeing" the work. Additionally, a soundtrack accompanies the work. This is based on (but not like) typical museum audio tours. My soundtracks often mimic the structure of the visual work. In this situation the physical layering of the vinyl, the architectural configurations, ambient noise, and musical notation form the structures of the soundtrack. Both visual and sound components are predicated on the intersection between language and perception, and are highly specific to the experience of walking around a gallery space and the activity and physicality of movement while viewing.
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