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The memory of narcissus Series

This series of works stems from the reflection on the value attributed to objects (metals and precious stones), established culturally and historically by society. By means of the two-dimensional representation where the artist creates a series of works that dialogue ironically with the concept of value, understood by the added content, I represent scenes and objects that are directly related to the idea of ​​exchange and judgment fundamentally using a chromatic range that is associated with said judgment (gray graphite as a physical component of the diamond in another density, gold, silver and bronze as metals representing different scales of value), combining such materials by its chromatic symbolic quality.

The Plato's Heaven Series

The theory of Heaven is a novelty that Plato introduced to philosophy. Inspired by this concept, the artist proposes a series of works where I imagine and recreate possible worlds only existing in ideas and materialized through art as an ideal means to fable and materialize dissimilar visions of a Platonic space.

Doble Standard Series

The more transcendental the representation, the more it tends to evoke it through its prodigies. Such is the case of the Double standard series in the words of the artist "It is a process of visual archeology through a search for human representations conditioned by their ritual, aesthetic or utilitarian meaning where a resignification of beauty patterns is proposed, a game with female representation with its multiple meanings, functions and forms”
James Bonachea combines the same motif separated by different forms of representation. The double standard announces a double reading of the original meaning of an image, a polysemic game of signifiers. Doble standard's proposal is an artisan of artisans: it summarizes the wisdom of concretism in time through the human figure and the object as a poetic expression of the time in which Bonachea's works take place.



James Bonachea artist



The work of James Bonachea (Cuba, 1977) has been characterized as a constant invitation to re-signify both the beliefs rooted in the cultural imagination, as easily as the objects of everyday use. This practice has led him to the intervention of public and private spaces involving both his own body, as well as organic materials and other elements in settings and surfaces, apparently contradictory, within the formal solutions of visual and pictorial discourses. From performance to drawing, his curiosity for rereading the remote past has directed him to establish dialogues between the historical vision and the current condition of reality, resulting in discursive forms that complement an anachronistic universe of resignifications.

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