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Julia Carrillo's work brings together at least two opposite gestures. By means of devices of the vision and structures-spider webs, she questions the laws of nature to address what has obsessed the history of the science and the art: the distortions of perception to which the gaze is exposed; values of certainty and illusion. In a second gesture, her work undresses the intimacy of the minimal surfaces and affects the three-dimensionality of the geometry towards the aesthetic experience.

At first, you might think that she performs exercises that seek the irrepressible infinity of refraction and the ambiguity of the projection; however, is it possible to define the limit of the luminosity, the shade or the movement? In this sense, Carrillo is ahead of the scientific tradition of optical devices and the claim of the experiment, now aesthetic. She crosses the visual phenomenon and its link — worn and common— the interactivity between body and object. Her research recover analytic geometry, stresses it, makes it explode while semantically contrasts the astronomical nomenclature of celestial constellations — a rare gesture for contemporary art. Something in the poetry of materials allows a fracture, generating pure vertigo in an 'innocent' movement which alters and waves the physical reality and the abstract entity. It is concrete and in doing so, it disperses.

This exhibition presents three pieces: Antennae, Sirio and Kuiper. They manifest the way in which the complexity of the inside and the outside becomes elusive. The form becomes 'organ' and image — apparently sequential, refracted and projected— opens a bridge towards some 'tissue in radiation'. For this reason, while looking to strive to arrange that experience to the interior of the 'known', eye and body insist on the state of confusion resulting from the return to the fundamental, the horizon of the infinite stroke. Her work reminds that phrase: for anyone who fails to conceive the disintegration or discontinuity, all experience becomes insufferable. Only persons who perceive the 'totality' can understand the meaning of these diaphanous caesuras.


Karla Jasso

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