Diferenciado, espacio
Galería Panza Verde, Antigua Guatemala.
October 8, 2022.
—
Yet totemism is an actor, for it moves, and has been crafted for actors; all true culture relies upon the barbarism and primitive means of totemism whose savage life, i.e., entirely spontaneous, I wish to worship.
- “The Theatre and Culture”, Antonin Artaud
There are forms, elements and entities that have accompanied us since we know we are “human”. It was perhaps from those first contemplations of our environment that certain figures were consolidated as mythology, becoming the horizon, from which we could establish a first order of things.
Looking to the present, at a time when many of the great narratives — and mythologies — that defined us, and upon which we founded our path and becoming, seem to be collapsing, redirecting our gaze towards those initial figures could be a viable strategy to find a center again; even when this always changes its place.
Although an artist, beyond looking to the future, becomes a witness of his time, what happens then, when what she decides to direct her senses to, is inserted in a time prior to her own, but still in force? Will her creation be able to become form, as well as all those that precede it and transcend, just as these, time?
In these pieces, transformed by fire, pressure, geological events, in short, time itself, we see an elementary principle of every perceivable thing: nothing remains the same and what was once consolidated as form — or center — will cease to be. A free play, of constant transformations and repositioning.
Diego Sagastume
Galería Panza Verde, Antigua Guatemala.
October 8, 2022.
—
Yet totemism is an actor, for it moves, and has been crafted for actors; all true culture relies upon the barbarism and primitive means of totemism whose savage life, i.e., entirely spontaneous, I wish to worship.
- “The Theatre and Culture”, Antonin Artaud
There are forms, elements and entities that have accompanied us since we know we are “human”. It was perhaps from those first contemplations of our environment that certain figures were consolidated as mythology, becoming the horizon, from which we could establish a first order of things.
Looking to the present, at a time when many of the great narratives — and mythologies — that defined us, and upon which we founded our path and becoming, seem to be collapsing, redirecting our gaze towards those initial figures could be a viable strategy to find a center again; even when this always changes its place.
Although an artist, beyond looking to the future, becomes a witness of his time, what happens then, when what she decides to direct her senses to, is inserted in a time prior to her own, but still in force? Will her creation be able to become form, as well as all those that precede it and transcend, just as these, time?
In these pieces, transformed by fire, pressure, geological events, in short, time itself, we see an elementary principle of every perceivable thing: nothing remains the same and what was once consolidated as form — or center — will cease to be. A free play, of constant transformations and repositioning.
Diego Sagastume
