Written on a
cowhide Luis Felipe Fabre
Titled bareback Cowhide currently showing recent work by Gabriela Gutierrez. Objects, painting, installation, photography and video, these pieces are marked by an awareness of the raw material to support them or cause of record: cow leather and human hair.
Through variations that make this show, Gabriela Gutierrez explores the possibilities of these materials and instead of imposing a meaning, extracted, and perhaps underlines the very memory of the materials chosen, the traces of its history and processes those who were exposed. Perhaps she says. Such is the case of one of the dialogues engage in the archipelago made up of cowhide leather with a large panel operated photographic records the passage systematic slaughter cows.
But Gutierrez's work appeals not only to our eyes and thought, but is also an invitation to touch disturbing. Leather animal and human hair. Skins skin that cause either pleasure or generating promising rejection. "To touch or not touch? In any case, the gaze is turned in one direction too sterile body to the textures of the work.
Hence the maximum voltage of these parts whose tendency toward formal abstraction is bounded the physicality of their materials and media, signs in themselves and of themselves. The skin and hair are remnants that account for human and animal bodies that once formed. Its conversion into raw material, and its disappearance as a body, no longer be terrifying.
This process of expropriation of the body is visible to the projected image of a naked woman: ghost in contrast to the indisputable presence of a dress made of human hair displayed a few meters. A dress made of body and that, paradoxically, is nudity. Native dress that no body saw.
not and what can a body, but what can a rest. Not only the body but the body reduced to raw materials: skin and hair. The body as a producer of raw materials and the loss of the body through the mechanisms of production.
"The work of art, despite its value auratic is a better product after all and, therefore, an accomplice? This seems to be one of the questions underlying these parts. Question that Gabriela Gutierrez insists from the choice of materials to the latest decisions of the conservatorship. Question immediately raises other. And like the old fables, the cow takes a disturbing quality mirror. But the human image that brings us back is not the ancient fables, but of a terrible reality without moral of all, one way or another, we are accomplices.