Sebastian Camacho and the daring to breathe through painting

one of the three
One of the three “Bruno” that are part of “Living Together, Alone” by Sebastian Camacho, at Galerie Gacci Prieto

The current passes through the lower bound, which we hardly notice. Elementary can be presented to us in an educational periodic table, which, for many, is nothing more than a mess of abbreviations and numbers. Hydrogen ranks first and oxygen ranks eighth. Then we learn, for example, that water is made up of two parts, one and the other. there he is.

in the sample live together alone From Sebastian Camachowhich with guardianship Charles Herrera Presented until August 13 at the Gachi Prieto Gallery, the elements appear, as in life itself, hidden in the paintings from their function in everyday life and focus in particular on a small and essential mechanism: breathing.

Breathing is what happens while you are busy with other thingsI may have written as well Lennon The background of the song would not have changed. But for the multifaceted Colombian artist (Bogotá 1982), who lives in Buenos Aires, capturing that moment represents not only his “reunion with oil painting”, after what he calls “exercises” with watercolors and a whole series of paper ArchitectAnd the He betrays in him the meticulous and patient nature of his work: “I have a fickle and somewhat chaotic technical exercise, restrict myself with very long processes and usually leave me exhausted.”

Fragment from the series of architectural papers that Camacho worked on before paintings
Fragment from the series of architectural papers that Camacho worked on before paintings

The exhibition consists of a series of six paintings, as the artist explains Infobae culturewhich appeared in 2021 and although he emphasized that it was not implemented during the pandemic, the bridge extends back to that past.

“I tried to begin to figure out what that strange period was, to try to understand this arc in our lives. There is no safe distance yet, but it seems to me that it is important anyway to start chewing and producing with that in mind,” he said. However, he does not consider that the confinement affected the way he worked: “Although there is an obligation to do something, those of us who paint live almost in permanent quarantine, we are locked up alone for long periods, to the point that we were in a normal state.”

But the evidence that brings us back to that timeless time is there, between the mundane and the sacred. If we refer to tradition, to the symbolism itself, the bare feet – already present in the statues of ancient Greece – indicate man’s resistance to pain, which gives man an association with the deity. Socrates, according to Plato, walked barefoot. This perspective was, if we put it in twenty-first century terms, culturally possessed by Christianity and its infinite representations of the Son of God, saints, etc. And so on.

“Foot” by Sebastian Camacho, oil on canvas (80 x 80 cm)

The lower extremities appear in three works of Camacho and in one work, feet, represented by the marks that tight socks leave on the skin; Perhaps the stigmas of an absent routine, from that extended immediate past, which, although almost invisible, does not mean that it left no trace. Signs of life, after all.

Of course, for useful uses, this dispensation of shoes is bound up with the separation from the outside in everyday life, with some estrangement that breaks, as can be seen in the other two pieces, Julia s Julian, which reveals a way of indicating behavior and at the same time feelings. We have been stripped of a good part of our bonds, of our armor for the daily combat, and they seem to tell us, with no pants and a bare-chested chest.

Visitor watching details
A visitor monitors the details of “Julia”

Julia Melodica, reclining on the arms of the sofa, plays in front of a bowl with violets in which there is, at the same time, a glass bubble for drip irrigation, a system created for plants in arid regions, in order to make the most limited resources that have been “domesticated” in pursuit of comfort.

Coincidence or not, the ball with H2O, the sum of two elements, connects to the thread that turns the works into a chain, the respiratory problem because of the element that is produced in this process, oxygen, and because of the divergent motion of the respiratory spasm, again, the bottom line, again, silent.

All people appear with bags on their heads, but at the same time they perform inhalations and exhalations, since while playing a musical instrument, in case July He is somewhat observed stretched out on the sofa with a cigarette in hand, perhaps predictably or meditatively, one cannot be sure because the information is from the body.

The exhibition will be open until August 13
The exhibition will be open until August 13

Breathing, like drip, is a function that can go unnoticed in the bustle of life, but under such introspective conditions, live together alone, has been re-evaluated; After all, this timeless confinement attacked this unconscious and fundamental mechanism. Life, up until then, had been a mess of triggers, reduced to two elements of an unremembered periodic table and their possible combinations.

On the other hand, covering faces renders emotional states invisible, and therefore focuses on what cannot be seen, and again is the indispensable minimum, which is not represented by the unrepresented breath of form and which here arises from the movements: while in Julia Satchel expands in July, You contract.

“July” in the background and on the smartphone screen

In the three paintings he called Bruno This movement was left bare. On the one hand, because there you can see the expressions of the protagonist, the artist’s son, such as the process that turns oxygen into carbon dioxide in the various movements of the shell.

Depersonalization of Julia s July They are thematically related to other works of Camacho, which can be seen in the back room of the Palermo Gallery. In several large watercolors and oil paintings, the artist has produced a series of paintings that form a “different relationship with the viewer because whoever approaches these paintings does not think, what emotional state I was in when I painted them,” he said. .

The pieces originate from pictures, like paintings live together aloneAn illusion of absorbing realism. “More than a string, it’s like a picture that haunts me, I don’t know why I can’t get it out of my head, but I also know that it’s kind of like an archetype that’s in the history of pictures, like the my house From Gerhard Richterfor example, or great swimmer From Enter“, He said.

Watercolor painting of Camacho next to
Watercolor of Camacho next to “Betty” by Gerhard Richter and “The Great Mother” by Ingres

For Camacho, these pieces are ‘painting exercises’, in which he attempts to ‘assume some kind of passport image, roughly like the one in DNI, but only from the back, so there is also a documentation exercise’, and thus, it seeks to ‘enable another kind’ of independence where each individual responds to a particular identity.”

The artist captures reality on canvas, sometimes from photos he sees on social networks and other photos that he takes himself. In this sense, he comments: “We all have a form no matter what kind of work we do in the impulse that leads us to do the technical exercise. It responds to something that precedes the manifestation, we have the idea of ​​an image in our heads. Now that idea manifests itself in different ways, there are people who work from dreams. , and others out of emotion as I use photography as a unit that allows me to simultaneously contain and modify this construction and above all to develop a kind of distance in connection.”

in live together alone Sebastian Camacho He proposes fragments of reality focusing on the essential elements of life, but at the same time he investigates behaviors and emotions, those uses that have been stripped from us and what we have built around us as a protective field to transcend the moment. In this sense, he suggests a pictorial experience of ‘distance in relationship’.

* “Living Together, Alone”, exhibition by Sebastian Camacho, until August 13 at Galerie Gacci Prieto, Oriart 1373, Palermo, Capa. Free entry, Tuesday through Saturday, 2:00 p.m. to 7:00 p.m.

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