Gabriel Orozco by Jemini Patel

8/14/2019 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

LE

2

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

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Gabriel Orozco by Jemini Patel