| With the artisan’s hands and the child’s soul, Pep Aymerich models the matter and talks with the elements in order to re-find the essence the Self and Nature. In all his creations a deep need for transcendence is glimpsed, with a constant questioning of the human conflict facing the fragility of his existence. He uses multiple languages and materials. He finds in each of them a medium to express his sense of purity and the evidence of simplicity. Pep’s work is the intimate reflection of a body in action generating forms and spaces. What it changes are the dimensions, the narrative times: sculptures, installations, performances, video-creations... Thus, from the wood he extracts either polished, round, concave forms warmly sheltering the human spirit, or, either conic, ascending ones, trying to reach it. He plays to reflect himself on the stones, his polyhedron gaze is multiplied, it is a caress and it is caressed by them. Light and water dissolve the forms’ stillness to recreate an atemporality towards more ethereal states. In the filmed image he finds also new spaces with sensitive and temporal possibilities for his inner journeys. The mirror reflects his more real self, alluding to a reality of isolation from which he always seeks to wake up from. His first sculptural objects seek harmony in form and they exude a dazzling luminosity close to the sacred. He later goes more in depth in his almost obsessive inquiry over the self-referential being, shut in himself while questioning his relationship with the environment. Thus, his outdoors sculptures talk to the space itself and incorporate their idea in the landscape while indoor installations recreate absent spots and nature’s elements as methaphors for the audience to reflect upon, through experience, about their interaction with the surroundings. Sometimes playful, his actions and video-creations also show his tireless search towards lucidity, always through his discrete presence and the delicacy of a gesture that caresses with gratitude, with reverence, the sublime of existence. Elena Oña |
|
|||