State of Mexico, Mexico, 1991.
Ibáñez studied visual arts at the National Autonomous University of Mexico. The point of departure for his work is the inquiry about the relationships between painting, object, and representation, based upon the approach to the same topic by US artists such as Robert Rauschenberg and Frank Stella. However, where they focused on the neo-Dadaist transformation of painting into object and the interpenetration between everyday materials and the idealized state of painting, Ibáñez focuses on the process behind such transformation.
The result is assemblages in which one can directly observe the procedure and the craft of its making, sometimes even as representation. Such is the case of Ensamble de oficio (2013), in which wooden planks overlap the portrait of the labor of the carpenters that made them. This interest for the process is shown in different ways in more recent works like 160-160 Ø (2019), in which the assemblage is presented as a reflection around form and color. These works are dynamic, nevertheless, their dynamism is revealed to be the product of a specific construction – lest we forget, an object stands before us, rather than a symbolic universe or a spiritual dimension.
Omar Ibáñez currently lives and works in Mexico City, Mexico.