g u i l l e r m o   m o r a

Guillermo Mora’s work is apparently produced within the coldness of a lab where observation, experimentation and addition conspire to objectify speaking objects. On exhibit, however, the moment the pieces are observed, their shape becomes suddenly theatrical in space, as if the artist was taming the space where his work resides, and exhibiting both as one. (...)

In a strange—homey/tamed—way, Mora lets painting itself guide his consecutive steps. It is Painting that makes sense of its own organization chart while the artist explores it as if led by a mute, almost blind, symphony, oriented by the quasi Braille-like tact of its signs. From it come the letters, the re-made wood, the boxes, the wrappings, the reservoirs, the shredding, the drippings, the crowds, the buildups, the ruptures, the waste, the accumulations re-ordered as retinal classifications that surpass the emotional reasoning of color. (...)
This is how we arrive at his Painting, as if rehearsing a brief solipsism on the hecatomb of the subject, in order to face, from a position of decadence, abandon and solitude, a greater disaster that announces the close end of all things human. Guillermo Mora works as if manifesting himself manually through pictorial craftwork, as if pronouncing a colorful calling of acronyms looking for words hollowed by despair and emptiness, as if filling our sight with chromatic bombardments in order to save it from the flattening screen shot of our psyche. This is Painting, once again, leaving to us the mark of our fall, giving us, perhaps, the last breath to keep us from falling. 

Text extracted from “Brief essays for a major... disaster”, Omar Pascual Castillo 

PASCUAL CASTILLO, Omar, “Brief essays for a major… disaster”, De un soplo, Casa de la Entrevista, Ayuntamiento de Alcalá de Henares, 2009.

Download full version