Elements of dialogue.
Reflection on NOT-ME! by Nuria Fuster.
The materials found in some everyday objects and their peculiar characteristics have become an amazing laboratory for the field work of visual artist Nuria Fuster. But one could also say that the particularity that these things possess, in and of themselves, have anchored the artist in the social and political context of our society; it is, for the most part, under this perspective that she expresses her ideas.
Through some of the objects she has produced, it’s unquestionable that her body has been intercepted by the nature of industrial reproduction and some of the aesthetical milestones that surround emblematic artistic reflections. She also imposes a practice that observes, schematically, how those industrial panoramics have been interpreted, as well as everything they visualize when it comes to confronting, in this case, an expository proposal. That is why after investigating and reviewing some of the archives that form this exhibition I dare to write that we might be facing a synopsis that establishes new lectures regarding the objects and materials that from their frameworks expand unusual atmospheres. Spaces that are gaining popularity, but nonetheless have always been a challenge to the current vision with which the international contemporary art scene is operating.
In the face of this preamble, this artist’s drive has not only annexed some socio-political processes that have exposed her physical condition in constant wandering, but also invites us to speculate about the infrastructures that transmute time over our surrounding environment. It’s because of this that beyond imposing an understanding over the notion of the object, what happens here is that the artist tries to open an introspection where what she shows can be edited under the optic of a thorough scientific work that was discovered from the visual reading of those limits that have built the nooks of industrial exploitation.
Moreover, we could add to Fuster’s proposal, titled “Not me!”, that positions the warp of the objects, be them plastic or organic, that appear in vital processes and gradually alter the biological and chemical abstractions that emerge from the earth; and that finally combine with the cosmos. Each processed image, angled and altered by the artist has us reflect on the fact that the landscapes she designs are exteriorized in contexts where the individual sets the making of the materials. In this sense, this lease has given in to other figures that appear and disappear in the components product of a lightning approach that reverberates in the idea of the space.
On the other hand, in “Not me!” we can establish a certain heterogeneity in the predilection of these objects, a perspective that puts us face to face with a great diversity of epistemological approaches regarding how Fuster’s work is based. There is no doubt that inside her praxis she has chosen to use this swarm of metaphors as a pretext to encompass other aesthetics and shelter different judgements on the enigmatic relation the human being has with them. This exhibit brings up the emotive circumstances that the artist has kept with various places that make you question human life. She proposes an aesthetic that structures but also amplifies a space full of thought out and carefully designed allegories as a physiological reaction in face of what’s imposed by her investigations. However, her forms are a subterfuge before the multiplicity of models that subscribe to a scientific guideline when it comes to incorporating processes, for instance, of seawater evaporation.
This means that she collects, reviews and classifies the different elements that nature illustrates and that links these artworks as an alloy formed by various terrestrial, industrial and environmental components. The assemblies tighten the same technique generating a degree of expectation after seeing, clearly, the surface that the chromatic signals display as well as the movements that portray what lays visible.
The logic of this exhibit serves to unblock the images of a place of exploration and for others to question their physiognomy before the dissimilar points of view that can support the act of an artist and their relentless conceptual articulation. Nuria Fuster, by displaying materialities alternated with others, faces the vague, imprecise, polyvalent meaning that broadly shows the landscape humans have built. If we wish to end all the diatribes that have surfaced in this exhibit, maybe we’ll be capable of cultivating different multidisciplinary facts about a socio-political space that, in general, will be reformulated when it comes to their material and atmospheric dimensions.