Omar Ibáñez presents his debut exhibition “Integration Module”. The Mexican artist studied Art at the National Autonomous University of Mexico. His work is rooted in painting, starting with the research of formal relationships of an art object in terms of Geometry and its links to spatial notions. For this, the artist has developed a practice in which the boundaries between support and painting are erased. In “Integration Module” the artist shows two of his series titled “Positions” and “Concave Surfaces”.
Curatorial text by Daniel Garza-Usabiaga.
In Integration Module Omar Ibáñez presents two types of pieces that share a similar articulation when employing a modular piece: a circumference of a circle with a diameter of 19.6 inches. The first kind is displayed on a wall that was constructed for this show, aiming to explore the integration of painting, sculpture and Architecture. Through Geometry, this synthesis leads to a perceptual phenomenon. The sets of plans, depth, volume, colors and shadows in each piece contribute to the transformation of the artwork in accordance to the spectator's transition and depend on the angle from which the wall is being observed. These architecturally resolved pieces count with certain parallels with plastic integration tradition present in art and modern constructions in Mexico. The second set of pieces shown in Integration Module also offers a synthesis exercise, although it is limited to the relationship between the painting and the transformable object. These works imply change through the spectator's interference - only that in this case there is manual manipulation. This set of pieces precedes the ones integrated to the wall. The changes and variations among them demonstrate Ibáñez’ interest to add questions and to complicate the geometric study in his production.
The “Positions” series derives from the transformation from painting to object, or the transition from the two-dimensional into the three-dimensional. The results are assemblages thought with a flat wall in mind and the geometric construction of superpositions that come out of the circumference, with intertwined elements through different configurations that emanate the artist’s characteristic color palette or the manipulable movements of some of the pieces of the series. Through “Positions” Ibáñez proposes the visual exploration of mathematical concepts that analyze how it is that these forms develop in space and the exploration between painting, sculpture, and Architecture to denote the nonexistent subjection among the disciplines.
“Concave Surfaces” is presented as a counterproposal, in which the boundaries of the wall are trespassed. The artwork is placed inside, breaking a part from every formality as well as from the conventional museographic aesthetic. In that sense, it goes one step further from classic Geometry to be inserted in the investigation of more modern visions about the relationship between forms, concretizing the transformations, transitions and fluidity of the artwork in space. The research behind “Concave Surfaces” revisits the idea of plastic integration to Architecture raised by the muralist movement and the dynamic spaces that are reduced to a wall, one of the main elements in architectural spaces.