El ángulo de las cerezas
Even so, that desire/necessity to relate what it is that makes an individual be one plus something else persists. Not necessarily someone else, but an aspiration to be enlarged; to be completed, without losing the essence of oneself. On the lines of cherries, which share the same core that they remain connected to by their angular shoots while they are anchored to the branch of the tree. Each, however, has its stem, each continues to be a fruit that is unique, different and independent from the others.
Juan Llano Borbolla
“El Ángulo de las Cerezas” de Iván Gómez
The angle of cherries is a project that triangulates three pieces around the idea of apparatus as a subordinate body, understanding that devices which possess that function fall into that category. Bodies that place different objects and interests in relation with one another, noting how they organize the parts and how, in some way, they mediate and transform the function of the whole. In this project the mortar of architectural construction acts as a reference to the material existence through which different representations are brought together in search of a discourse. Thus, a bird's nest and an engraving of the eastern side of the lunar crater Theaetetus are supported on a structure that is balanced on a small base of moulded cement; the layout of this structure evokes a designer's table (image1). Another right-angled structure supports two monitors on its walls. From the bisector emerges a methacrylate which in turn rests on a bag of concrete. On the methacrylate are found the reflections of both monitors, producing some sort of third image, in reference to cinematographic montage (image2). Lastly, two iron plates support each other forming a triangle with the pavement, behind which there is an intervened reproduction of Eugène Delacroix's Liberty guiding the people, likewise a triangular image whose base, the fallen, is aligned with the pavement itself (image3).