Residing in Mexico and United States of The us, Alejandro Almanza Pereda grew to become intrigued in the thought of perceived hazard and danger owing to the pretty unique environments of the two nations around the world. His big scale set up artwork utilises each day objects that are quickly recognisable. Pereda issues the conceptual contexts of these objects and typically their physicality by presenting them in unexpected environments like underwater. A feeling of stress, fragility, transience, and satire – all at enjoy in his operates.




The use of fluorescent lights is a recurring topic in his the latest light-weight set up functions. “I began experimenting on components and objects like fluorescent lights in buy to push their physicality to its restrict. In the other phrase, it is to challenge our thoughts of these acquainted objects,” he states. The underwater images collection has its inspirations from Dutch however-life paintings and however they are layered with the idea of surrealism, and normally satire. “…if you do not choose it with humour and satire, do not make artwork,” he claims.
I converse with the modern artist on his practice and ongoing jobs.
Rahul Kumar: You use classic objects gathered from flea markets and thrift merchants. How do you use the mundane to categorical the duality of fragility and power?
Alejandro Almanza Pereda: Our initial face with objects is in a domestic space. We learn how to interact with them. We study if they are large, fragile, or if we can hit, roll and bounce them. We understand that some specific objects can be dangerous for us or precious for other individuals. So, I try out to use objects that have heritage and primarily some aesthetics that convey some nostalgia. We master that, for occasion, a mild bulb is fragile and, then, reside with this concept for all our lives. But, in one more component of the reality the light bulb can structurally offer with a great deal of force, dependent how it is utilized. These dichotomies intrigue me.




Rahul: Even further, how does materiality with objects like the neon-lights incorporate to your narrative? How does it arrive jointly in your huge-scale sculptures?
Alejandro: They are truly not neon lights. They are mass-produced fluorescent lights for shopper use. It is an crucial difference due to the fact they are objects that individuals are familiar with. People today are mindful of its properties like they are brittle and can explode if mishandled. Also, while it is a lesser-identified point that they contain mercury and poisonous chemical compounds.
Fragility and toxicity in their characteristic resulting in people cautiously tackle the tube, is important to be recognised due to the fact they are connotations which are important in how I use them as material. I started out experimenting on supplies and objects like fluorescent lights in order to drive their physicality to its limit. In the other phrase, it is to obstacle our ideas of these acquainted objects. One particular of my before artworks was a solid block of concrete forged on best of some incandescent light-weight bulbs. Although I did not make any scientific calculations on this operate, I just tried out it out as the similar way as the fluorescent bulbs. I place a cinder block on leading, and they did not split. I put two, and they were being even now intact. Then, I put a few of them…and they have been however there. I did not proceed. I stopped. It is not for the reason that I was concerned of the bulbs breaking. I stopped because I did not want to know what was the limit of their resistance. This absence of my information enthused me for creating the sculptural art on web-site.




A mild bulb demands electricity to satisfy its operate. I uncover this related to any substance that need their atomic constructions bounded by electrons. As columns of a developing or steel cables of a bridge, they constantly exist in streets by bodily forces. I think the light that emits the tubes in my gentle-artwork get the job done is the drive that maintain every little thing alongside one another.




Rahul: The aesthetics of your imagery straddles the Dutch still-everyday living painting custom and surrealism. How do you expect your viewers to ‘consume’ your work that has multitude of levels?
Alejandro: I could say all of my function is essentially nonetheless-life. Objects, supplies, domestic settings, balance, and time are all with their own meanings and conceptions. It may well be observed intently as surreal intentions but it is primarily based on real points. I believe my technique is basic and easy. I am pleased that any individual who acknowledges materiality will recognize my operate. Of course, it has extra levels with some particular narratives and that may possibly make it additional of conceptual artwork .




Rahul: Is there satire/humour at perform, primarily with your under-h2o sequence? Is it tedious to phase photographs beneath the water? …and why beneath h2o, and why upside down?
Alejandro: Normally!… if you do not consider it with humour and satire, do not make artwork.
Currently being a sculptor, gravity can be your friend or enemy. At times it is very good or at times it is undesirable, but you constantly will need to offer with it. Carrying and working with large objects, specially concrete, I have started to yearn for an antigravity unit or even a better spot with distinctive physical regulations. So, I started off considering of sculpture in room, like one thing that I might not be in a position to do now, but in upcoming generations it would turn into attainable. Then, I began to think about structures underwater. It was so liberating considering the fact that you can create architectural structures that are not possible in our natural environment. I guess the assumed will come from watching Carl Sagan’s Cosmos series and Jaques Cousteu documentaries.




I do not feel there is any laborous minute in artwork producing. Well…other than all administrative work, crafting e mail, and in some cases offering interviews. But, there is plenty of irritation, difficult and heartbreaking moments, though all the ‘struggling’ feeling go away when you have slightest success of an notion doing the job. It has been 16 decades given that I started out doing work on my underwater series. Working in various medias/ailments wherever you simply cannot breathe or move normally is rather difficult. Also, undertaking so you require to handle and handle the place. So, I began working in compact aquariums, jacuzzis, houses with swimming pools, to the 27-cubic-meters tank with an inverted periscope process developed at my studio. Individually, I obtain the underwater operate additional intriguing when involved with a element of the creating and tanks, and all of it is driving the scenes, than the piece itself or the finished perform.
Upside down? Properly, isn’t fascinating just to flip things to see how it goes?




Rahul: In your modern sculptural installations, you have contrasted the plan of perceived danger in constructed constructions of Mexico vs. United states of america. What are the further ideas that you endeavor to categorical by this metaphor?
Alejandro: Actually, my perform started when I was dwelling in the border involving El Paso, TX, and Ciudad Juarez, Chihuahua, Mexico. I lived in Ciudad Juarez even though heading to artwork faculty in El Paso. With two unique realities, a person was just one of the most secure cities of United States and the other a single is still a person of the most perilous cities in Latin The united states. In normal, possibility perceptions are fairly diverse amongst the two nations around the world, societies, cultures, and moments.
I am glad to have knowledgeable these differences involving two close by places at an early age of art making. I can say that the two could be a reality of one’s life. Remaining in a harmful setting is not at all very good for clear causes. But it would make you extra resilient and adaptive. Daily life has to have on. On the other hand, in a super safe ecosystem a person not only thrives but is also less attentive to his surroundings. Meanwhile, under the social setting that just about guarantees your safety, you are more paranoid of thoughts of hazards, in one more words, concern.



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