Bayrol Jiménez: Después de la fermentación sólo queda el pozo August 29, 2019 | October 11, 2019
Opening: Thursday, August 29, 2019, 8:00 pm
Páramo presents the program of exhibitions curated and selected by Daniel Guzmán entitled Impasse. A program designed to activate and strengthen the relationship with the local scene through a selection of artists, national and international, who in some way or another develop their work in Mexico.
“With the exhibitions Después de la fermentación sólo queda el pozo of Bayrol Jiménez and OVERDRESSED of Edgar Cobián, Páramo activates its activity in the city. These samples are the beginning of a series of projects that I have selected under the name of Impasse to be presented at the gallery during the 2019 and 2020 program.
“It is necessary, as I have noted at other times, that the city of Guadalajara has a space to exhibit local, national and international contemporary art, with interesting and purposeful proposals, to offer a professional space, open to dialogue, with different creators of the local scene, and with artists who are already part of the gallery program.”
—Daniel Guzmán, Guadalajara, Jalisco, August 2019.
Después de la fermentación sólo queda el pozo, by Bayrol Jiménez, is the artist’s first individual exhibition in Páramo Guadalajara, and one of the first two samples of the gallery’s 2019-2020 program. The exhibition shows the artist’s exploration of the creative capacity from memory to the transformation of the object into drawing, painting or installation.
“Create through cancellation, blur errors and work in dead ends. Return, reverse, trim and recycle. Create a great collage from the ghosts of memory and the physical plane that is the experience: gestures, drills, regrets.”
John Berger has a text about drawing that says: “drawing from memory is to force deep in your own content of past observations”. This was the basis from where Bayrol started to conceived the body of work. Ideas as how things work in a blind space (something like the space in a paper before drawing, or the white sheet waiting for a word), or if we take away the subject or theme and start by choosing those strange spots that we see when we close our eyes.
Using Henri Bergson’s idea of a dream and memory as a sort of collage of things that we observed, all the works became matter for recycling.
The result as Jiménez explains is that all the works started talking to each other, no matter the moment that were made or the technique he used. The works just mixed, so he cut many of them and made several collages. At the end he made several compositions, from the beginning to the very end, playing along with the formats between colors and empty spaces, creating a unique and complex composition.
About the artist
The practice of Bayrol Jiménez (Oaxaca, Mexico, 1984) seeks to show experiences within drawing, painting or installation. This is conceived based on two ideas of memory. First as a space where the memories of images are not true to reality but work as a kind of collage of everything lived, small cuts that blend with each other. Second, the physical memory of the draftsman acquired through the practice of drawing through the eyes, the hand, the fingers, or the whole body, are only experience focused on processes that are transformed, under the philosophical concept of Emile Cioran, into simulations and waste.
Bayrol studied at the National School of Painting, Sculpture and Engraving, La Esmeralda and at the Villa Arson National Superior School of Art in Nice, France. He has made several international individual and collective exhibitions in Germany, Brazil, France, Canada, Mexico, among others. Jiménez has been an artist in residence in various spaces such as the Foundry Darling, Montreal, Canada, 2019; and SeMA Nanji, Seoul Museum, South Korea, 2017. His work is part of various private international collections, including the Asante Collection, Switzerland; Kadist Collection, San Francisco, USA; Luciano Benneton Collection, Italy and Freek Lomme Collection, The Netherlands.
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Páramo would like to extend its gratitude to Tequila 1800 Cristalino and Cerveza Minerva for their collaborative support.
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