Material Art Fair 2018

New Era (2009-14) suggests a fiction about a world where man passes spiritually taciturn ways in which predominates despair with the desire for liberation and transcendence. The series evokes the malaise of a society in which man is constantly faced with his own evil and overcomes their fears. The images evoke the metaphor of the spiral that renews what withers and blooms again and again, before a symbolic -and distant, quasi-futurist rebirth of man.

Domestic Fine Arts. Bajo el pseudónimo Domestic Fine Arts, Jésus Léon ha combinado fotografía, música y prácticas periodísticas por más de quince años. Su imaginario en el que muestra a ‘modelos’ posee no solo el glamour de una revista de moda, sino que permite personificar escenas profundamente románticas. En el trabajo de León Hernández, la intensidad de la propia vida se vuelve frágil y fugaz, para mostrar una versión oscura del amor, la oscuridad y la destrucción.

Under the pseudonym and long-term project Domestic Fine Arts, León has combined photographic, musical and journalistic practices for fifteen years. His imagery, at times displaying models, does not only have the glamour of fashion magazines, much more they come to embody deeply romantic scenes. In León’s work, the intensity of life itself becomes fragile and fleeting, displaying a dark version of love and destruction.

Under the pseudonym and long-term project Domestic Fine Arts, León has combined photographic, musical and journalistic practices for fifteen years. His imagery, at times displaying models, does not only have the glamour of fashion magazines, much more they come to embody deeply romantic scenes. In León’s work, the intensity of life itself becomes fragile and fleeting, displaying a dark version of love and destruction.

Mirror Study ​(2017) Those works are part of ​“Figures, Grounds and Studies,” Paul Mpagi Sepuya current project which “lays bare an interdependent formal relationship between my gaze, the subject depicted and the viewer’s (or audience’s) presence within a history of eroticized and racialized photographic constructs.” Sep​uya extends beyond ​traditional studio portraits including photographs of photographs, arranging or ​collaging two-dimensional works with the material around him ; his work tends to be both abstract and representational. By working with his close circle of friends, ​he establishes the artist’s studio as a place where life and art intersect and let his aura appear, even when he stays behind the camera.

Mirror Study ​(2017) Those works are part of ​“Figures, Grounds and Studies,” Paul Mpagi Sepuya current project which “lays bare an interdependent formal relationship between my gaze, the subject depicted and the viewer’s (or audience’s) presence within a history of eroticized and racialized photographic constructs.” Sep​uya extends beyond ​traditional studio portraits including photographs of photographs, arranging or ​collaging two-dimensional works with the material around him ; his work tends to be both abstract and representational. By working with his close circle of friends, ​he establishes the artist’s studio as a place where life and art intersect and let his aura appear, even when he stays behind the camera.