BOOK
Temporary isolation of people and animals by a contagious disease. Dating from the Middle Ages. During the black plague epidemic in the 14th. century, forty days isolation were maintained, the duration of which was set in memory of the days Jesus spent in the desert.
Cuarentena, it has biblical connotations, is a symbolic number that represents the idea of a change, the end of one cycle and the beginning of another one.
Book
Temporary isolation of people and animals by a contagious disease. Dating from the Middle Ages. During the black plague epidemic in the 14th. century, forty days isolation were maintained, the duration of which was set in memory of the days Jesus spent in the desert.
Cuarentena, it has biblical connotations, is a symbolic number that represents the idea of a change, the end of one cycle and the beginning of another one.
Context
The current global crisis, a pandemic of unknown dimensions, has affected, affects and will continue to affect all sectors of society. In this context, the world of art, and culture in general, has been one of the sectors most punished.
Yet, if there really is a hopeful vaccine, capable of healing the most sensitive and spiritual tissues and organs of the human, it is that art and creation can provide.
Vaccine for which has chosen Pablo Siebel as part of its makeup to combat these difficult moments. Thus, during the harsh social confinement, Siebel dedicated himself to preparing a kind of personal diary or logbook in which to pour his feelings, wishes, concerns and dreams as responses to such a complex and confusing situation.
In this way Cuarentena arises, an artistic project that involves the visual and plastic expression of an artist in the face of this strange reality that has caught all of us by surprise, emotionally and materially.
Context
The current global crisis, a pandemic of unknown dimensions, has affected, affects and will continue to affect all sectors of society. In this context, the world of art, and culture in general, has been one of the sectors most punished.
Yet, if there really is a hopeful vaccine, capable of healing the most sensitive and spiritual tissues and organs of the human, it is that art and creation can provide.
Vaccine for which has chosen Pablo Siebel as part of its makeup to combat these difficult moments. Thus, during the harsh social confinement, Siebel dedicated himself to preparing a kind of personal diary or logbook in which to pour his feelings, wishes, concerns and dreams as responses to such a complex and confusing situation.
In this way Cuarentena arises, an artistic project that involves the visual and plastic expression of an artist in the face of this strange reality that has caught all of us by surprise, emotionally and materially.
Pablo Siebel’s work deals with the sum of conscious and unconscious rules with which the artist can express everything that happens around him.
During the pandemic he decided to bring the feelings of confinement into a very powerful series of black and white drawings, symbols, concepts and a magical world interconnected with illustrations, synthesis, characters, animals, plants, abstractions and his own personal perception of this very particular time in the history of humanity.
40 drawings, ink and graphite pencils
on paper, 30 x 21 cm.
Pablo Siebel’s work deals with the sum of conscious and unconscious rules with which the artist can express everything that happens around him.
During the pandemic Pablo decided to bring the feelings of confinement into a very powerful series of black and white drawings, symbols, concepts and a magical world interconnected with illustrations, synthesis, characters, animals, plants, abstractions and his own personal perception of this very particular time in the history of humanity.
40 drawings, ink and graphite pencils
on paper, 30 x 21 cm.
His experiences, stories, characters and places are full of magic, immersing the viewer into a deep journey, where confusion and fear are surpassed by poetic and dreamy elements. The intention is to construct and mobilize a new reality for the viewer.
These body of work he made during the months of confinement, is not based on mere illusions of discord but rather also on demonstrations of resolution. The resolution maybe partial or incomplete and it may rely in the acceptance, or even delight in such a discord as well as in the fear of it.
But there is a method in this magical madness. Siebel knows and struggles with global insanity, but he has found a way to tame, or at least harmonize the forces of conflict, if not reality, then at least in the visual realm, where fantasy can prove exemplary. He is not trying to make sense of an insane universe, but he is trying to make us remember that there is still a place for us human beings to find an appealing reality. These clustered apparitions to behold promise us some place, some relief and perhaps some reason.
Throughout these forty drawings, Siebel opens a door to his personal animal facility. Images of fantastic nature, observed by the faces of dreamy and restless beings, animated and differentiated by strange facial features. A cosmogony designed to combat the agony of evil and disease, symbolized by the deadly star of the virus that populates the skies of these drawings, trying to turn them into hell.
These creatures and scenes have formal and expressive freedom which points directly to the waterline of the vessel of our senses and our passions.
The choice of pencil and paper, with certain contributions of ink, as the material and support for these works was not a fortuitous decision. The art of drawing, using instruments so humble but at the same time so versatile, allowed him to officiate an act of greater immediacy and apply a more direct, concise line on the bare and fertile surface of paper. This technique makes it possible to connect, through a closer gesture and without intermediaries, with the essence of graphic and visual representation.
The decision to avoid colour, and use only black, white and their infinite shades of grey, was consciously adopted in an attempt to reach a kind of formal and gestural purity.
His experiences, stories, characters and places are full of magic, immersing the viewer into a deep journey, where confusion and fear are surpassed by poetic and dreamy elements. The intention is to construct and mobilize a new reality for the viewer.
These body of work he made during the months of confinement, is not based on mere illusions of discord but rather also on demonstrations of resolution. The resolution maybe partial or incomplete and it may rely in the acceptance, or even delight in such a discord as well as in the fear of it.
But there is a method in this magical madness. Siebel knows and struggles with global insanity, but he has found a way to tame, or at least harmonize the forces of conflict, if not reality, then at least in the visual realm, where fantasy can prove exemplary. He is not trying to make sense of an insane universe, but he is trying to make us remember that there is still a place for us human beings to find an appealing reality. These clustered apparitions to behold promise us some place, some relief and perhaps some reason.
Throughout these forty drawings, Siebel opens a door to his personal animal facility. Images of fantastic nature, observed by the faces of dreamy and restless beings, animated and differentiated by strange facial features. A cosmogony designed to combat the agony of evil and disease, symbolized by the deadly star of the virus that populates the skies of these drawings, trying to turn them into hell.
These creatures and scenes have formal and expressive freedom which points directly to the waterline of the vessel of our senses and our passions.
The choice of pencil and paper, with certain contributions of ink, as the material and support for these works was not a fortuitous decision. The art of drawing, using instruments so humble but at the same time so versatile, allowed him to officiate an act of greater immediacy and apply a more direct, concise line on the bare and fertile surface of paper. This technique makes it possible to connect, through a closer gesture and without intermediaries, with the essence of graphic and visual representation.
The decision to avoid colour, and use only black, white and their infinite shades of grey, was consciously adopted in an attempt to reach a kind of formal and gestural purity.
In this particular body of work Siebel is showing us an indescribable amount of freedom in the midst of confinement. He reveals to us some underlying patterns that emerge from a projection of our own natural essence of understanding and open an infinite array of potential scenarios in this new reality humanity is facing today.
Each one of them tells us a story. They are the graphic and physical translation of experiences, illusions, fears, weaknesses, strengths and desires, throughout these forty days and forty nights.
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artist@pablosiebel.com
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