ESP (1980). Lives and Works in Madrid.
Penta Pack, 2012
250 kilos of acrylic paint attached by rubber bands
102 x 53 x 65 cm (approximate, varying dimensions)
Nothing more than paint, Penta Pack is part of a group of works by Guillermo Mora that question the structural mechanisms of painting. These pieces are made by laying coat over coat of paint (some weighing more than twenty kilos) and then simply attaching them with rubber bands. The precariousness of this support allows it to lose its shape, fall to the ground, and adapt to the space where it is placed. We become aware of its malleable quality.
Paint is presented in its most physical, material state. Without the help of the stretcher that has, for centuries, been its support, paint generates its own structure. Nevertheless, without even the rubber bands it would lose the little shape that is takes on in his works. It is from this condition that the titles of some of these series are born: ¿Qué son? ¿Son “casi” pintura, o “casi” nada? (What are they? Are they “almost” paintings, or “almost” nothing?).
Mora’s visual work—tangled structures made up of frames and wooden stretchers, tons of acrylic paint solidified into unique shapes, printed papers, rubber bands, and steel arrangements—sends us back to movement and all that is dynamic and changeable. It is a subversive piece that is based on what is traditional, but proposes a new language—all of this without abandoning the absolute conception of the material, which, despite being battered into the shape of the artist’s will, is still honored as the unchallenged protagonist of his compositions.