EXPO ‘Petites Topografies’ – Gal. CONTEXT, Barcelona (ES) – 12 Mai-13 Juin 2016

PETITES TOPOGRAFIES  / SMALL TOPOGRAPHIES

 new exhibition at Context Galeria

Ramon Puig Cuyàs i Silvia Walz, joies /Antoni Roselló, escultures

Opening: Thursday 12th May at 19:30 h.

Three artists. Three topographical views.
The topography (Greek τόπος topos, « place » and γράφω graph, « write ») is a field of planetary science that includes the study of the shape and surface characteristics of the Earth and other astronomical objects including planets, moons and asteroids. It is also the description of these forms and surface characteristics (especially their representation in maps). The topography of an area might also mean the shape of the surface and its own characteristics.
By extension, also called topography or relief available to a site, or even a description of the physical and moral person.

Silvia Walz, broche « Llebeig », steel, transparent and opaque enamel 2016

 Silvia Walz Brooch « Finestra 1″ – steel, transparent and opaque enamel – 70x70x15 mm

Silvia Walz, broche « Costa del Mar 1″, Sèrie Porta-Cels -  steel, transparent and opaque enamel 2016

Geometry of light  Silvia Walz
 Geometry means = to measure the earth
  »Measuring somehow implies that an unknown and undefined object becomes tangible, known and safe. The act of measuring the earth, turning it into numbers, lines or geometrical figures gives us a feeling of control. The geometry of light seems to me almost pure magic, since for me light means feelings; it enters the eye and turns into emotions. The quality, the colour of light influences my mood; it makes me feel sad or euphoric. Light may change an object, somebody’s face or simply a moment. Through this brooch series, which for me has been almost a small series of experiments, I have tried to approach the phenomenon of light. »
 Porta-skies
  »The sky changes throughout the day. Clouds move along, sometimes quicker than others, the sun hides away, a storm comes, the rain, a rainbow, water floats in the air, a strong wind dries everything up and leaves a blue sky. My porta-skies want to capture these different moments of light to turn them into wearable objects, useful amulets to cope with dark spaces, spaces with no windows through which see the sky. They are architectures of light; they are my micro-utopias. »

Ramon Puig Cuyàs,  broche « Antàrtica 3″, alpaca, corall blanc reconstituït, basalt. 2016

Suite Antarctica  Ramon Puig Cuyàs
 Antarctica is the frozen continent where silence, the sound of silence is heard. White and eternal silence. Isolation.
 « For me, it is a metaphor for the fact of finding oneself, as it also happens in the vastness of deserts, at sea or on the heights of great mountains.The process of artistic creation is also the process of finding oneself. It demands a willingness to make, concentration, a risk assuming attitude and also a lot of silence. Creating requires an inner silence that may allow us to hear clearly both our inner voice and the dialogue that takes place between our hands, our materials and shapes and our line of thought.
It is necessary to regain the value of silence as a form of communication. Listening to silence means listening to others, walking in their shoes to be able to understand them. Silence is like quiet and deep breathing. A kind of breathing essential to create and experience. »
Suite of Dresden
  »The Works that make up “Suite of Dresden: Variations on an Invisible Landscape’ series are driven by an experience lived in the city of Dresden. An archaeological excavation in the centre of the city reminded me of Italo Calvino’s book “invisible Cities”, cities that have invested a reflection in the sky or on underground, cities that run parallel lives without knowing each from other. Facing the Dresden falsely reconstructed for tourist, below are the old streets, the foundations and basements of the authentic, the city destroyed in a few hours of horror and fire. The city of pain. In the world there are many cities like Dresden, that of life, usually on the surface, and the horror and destruction in the underground, invisible to the looks, and forgotten. »

Ramon Puig Cuyàs- Brooch « Antàrtica 4″  Suite Antàrtica  – alpaca, white coral reconstituted, basalt – 75x65x15 mm

Ramon Puig Cuyàs – Brooch « Dresden 1″  Suite of Dresden – variations on a invisible landscape -  alpaca, enamel on steel, alabaster, reconstituted stone – 80x80x12 mm

Ramon Puig Cuyàs - Brooch « Dresden 2″  Suite de Dresden – variations on a invisible landscape – alpaca, enamel on steel, alabaster, reconstituted stone – 85x70x12 mm

Antoni Roselló, objecte « AQ (B) X » fundició de bronze a la cera perdida

 

 

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