Gabriel Orozco by Jemini Patel
Transcript of Gabriel Orozco by Jemini Patel
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GABRIELGABRIELOROZCOOROZCOJemini Patel
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ORD
INAR
YTO
EXT
RAOR
DINARY
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MY HANDS ARE MY HEART 1991MY HANDS ARE MY HEART 1991
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BLACK KITES
1997
When I did BlackKites, I was interestedin how we perceivevolume, how we perceive
tri-dimensionality. I aminterested in the patternin the grid and how weperceive truth, alwaysthrough filters of light,darkness, or many other
things. Its not a purevision; its always therein layerscultural andphysical layers. I wasjust trying to impose ahomogeneous pattern on avery complex tri-
dimensional objectahuman cranium. Gabriel Orozco
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DOUBLE TAIL 2003
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CATS AND WATERMELONS
1992
Beauty? I dontuse the word beautyanymore. Never.Its not that thething itself isbeautiful. Its therelationship thatyou establish that
makes somethingbeautiful. And sothe wordbeautiful is notan absolute Its amoment, I wouldsay. Its more likea moment in whichyou look atsomething and youfeel alive, youfeel that you areenjoying something.And that is amoment of poetry,
pleasure,revelation,thinkin .
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BALL ON WATER 1994BALL ON WATER 1994
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S
TANDI
NG
BICYC
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002A photograph might or might not become a
work of art. In a way, its irrelevant
because I think photography is a necessity
for documentationfor memory. First its a
necessity. Then, some of these photographs
might generate enough thinking and
contemplation to be exposed for
consideration. Gabriel Orozco
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PARACHUTE IN ICELAND 1996PARACHUTE IN ICELAND 1996
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LIGHT THROUGH LEAVES 1996
Im alwaysdrawing forprojects, andwriting. Makingdiagrams and
measuringthings. Butalso I like todraw as anotherway ofthinking. Andsometimes I
think mydrawings arelike puddles.Theyre likewater puddles.You have allthis paper and
then you startto drop thingsin. And theyare like aplatform foraccidents tohappen.
Gabriel Orozco
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I try always to be intimate with theworldwith everything I can, to feellove for it, or interest in it.
"To be intimate you have to openyourself, to be fearless, to trust whatis around you, animate and inanimate.
Then you start to change the scale ofthings, of the public and private.
I dont think it has to do with thesize or the scale of the work. It has todo with a deep reason why you are doingthat work. It can be a small piece or abig piece and meaninglessjust as empty
of real content as a huge publicsculpture or a small drawing can betotall em t