JORGE MOROCHO
PORTFOLIO
Jorge Morocho - Visual Artist b. 1992 My academic formation in art began in 2010 at the Higher Technological Institute of Arts of Ecuador - ITAE Since the early years of my production, in my work there was a constant necessity of starting the creation process from the remake or deconstruction from an already existing file, be it a painting, a play, a caption from instagram, or a fragment of a tale. In 2015 I did my first individual exhibition titled “The impossible Memory” with which I obtained my title in technology in arts. The exhibition consisted of several multi-channel video installations in which I first started to pose the beginnings of my relationship with cinematographic language and my interest for a multiple, escapist narrative. This first gleam of interest later began to occupy a fundamental place within my work. In 2014, I started my research in painting, which made all interest I had more complex, by subjecting them to their own itineraries within pictorial practice. I worked as an artist for the galleries DPM from 2015 to 2017 and N.A.S.A(L) Project from 2019 to 2021. In 2016 and 2017 my work was awarded first place at the Salon de Julio in Guayaquil. In 2018 I obtained my Bachelor of Arts from the University of the Arts in Ecuador with an exhibition titled The first visible animal in which my work in painting and video coexisted for the very first time. In 2020 my work was present at the Art Lima, Peru and Ch.ACO, Chile as an artist for the N.A.S.A(L) gallery. I´m currently based in Guayaquil.
SOLO El primer animal visible MAAC, gye (2018) MU DPM gye (2016) La Memoria Imposible Museo Nahim Isaias, gye (2015) DUO DOG backwards is GOD gye (2021) ART LIMA Lima (2020) PLOT MAAC, gye (2015) COLECTIVE Avistamiento de la pintura en guayaquil, Galería CIF MZ14, gye (2021) la conspiración del fasma Casa abandonada centenario, gye (2020) SinergiaII Espacio cultural plaza De la Fuente, gye (2020) ch.ACO Santiago (2020) Estar siendo CAC, Quito (2019) Sinergia Espacio cultural plaza De la Fuente, gye (2019) NASA(L) GROUP SHOW Galería Grau, lima (2019) Open Studio Galería Violenta, gye (2019) Infulas de manglar Casa Cesa, gye (2018) Made in GYE Tragaluz, lima (2018) Sub 30 DPM, gye (2017) Material gris Galería Violenta, gye (2017) Salon de Julio Primer lugar | Museo municipal, gye (2016) Residencia 103M MAAC, gye (2016) Salon de Julio Primer lugar | Museo municipal, gye (2015) La noche del cazador Casa Cino Fabiani, gye (2014) Propensiones Museo de los metales, cuenca (2014) L.O.S NoMínimo, gye (2014) GYE-UIO No lugar, quito (2014) Salon de Julio Mención de honor | Museo municipal, gye (2015) Premio Batan NoMínimo, gye (2014) El bueno, el malo y dos feos El selectivo, gye (2013) Zingaroo Casa Cino Fabiani, gye (2013) CAMARETA Espacio vacío, gye (2013) Opening Night MAAC, gye (2013) Sospechas de Caimán DPM, gye (2013) FAAL Mención de honor | Museo municipal, gye (2012)
Statement Time is a conclusive fundamental aspect in the relation we have with the world and its images, when a determinate amount of time passes every creation loses its urgency and its images become objects to abuse, look after, forget or reclaim. I pluck/tear images from the cloud to claim them as my own, after I subject them to time and affection mechanisms. The creation of these mechanisms is the epicenter of my practice. My work is based on creating these learning mechanisms on the files I relate/interact to/work with. I get an understanding and a physical complicity with my files through the process of sculptural or photographic recreation, repetition, reframing, luminic rearticulation, digital manipulation, etc. I learn, prod and fictionalize about the archives I reclaim, so that my works become visual residues of this transition inside a practice that thinks about the polarities between archive-fiction, original-forgery, nature-artifice not aa binaries but as systems of relationships, instruments of significance that in the end helps me see or understand nature as a gigantic machine of fiction.
The american friend, Wim Wenders | screeenshot
Dennis Hopper records a vn for himself, later on dreams about it | mixed media on canvas, wood and wallpaper | 200x480cm | 2021
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Bearded woman and her reflection | mixed media on canvas | 200x150cm | 2021
The Ghent Altarpiece | photocopy with stick notes
Hoopoe’s speech | mixta sobre lienzo | 200x150cm | 2020
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DOG backwards is GOD | exhibition views | 2021
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Wayne TV III | mixed media on canvas | 140x185cm | 2021
Wayne TV II | mixed media on canvas | 140x185cm | 2021
Wayne TV I | mixed media on canvas | 140x185cm | 2021
This series of works dialogue with particular interests that came through my investigations: the use of collage, the anachronic and artificial character of Adolfo Farsari hand-colorized photographs of Yokohama from the Meji’s age (XIX century), a group of stills gathered from western movies that rest in my image vault, the repetition of certain patterns joining the idea of continuity and images of bathrooms from the 80’s that I had collected from Pinterest. The idea of the chaos that generates the flux of information that converges in the surface of these paintings allows me to evade narratives consciously anachronic, marked by a desynchronized physical-temporal dimension, in which inhabits the temporality of archives-past, in contrast with the time of the gesture of the recreated-present. At this point, I understand my process of creating images as a way to involve myself in the constant fluxes of information sensitively and materially, as a tool of assimilation of my download history.
White fire | mixed media on canvas | 170x240cm | 2021
Pompey’s flower | mixed media on canvas | 240x170cm | 2018
The seventh fold | mixed media on canvas | 240x170cm | 2018
Yokohama’s beast | mixed media on canvas | 160x270 cm | 2018
Fox fire | mixed media on canvas | 140x320 cm | 2021
Laestrygonian I | mixed media on canvas | 120x250 cm | 2021
Laestrygonian II | mixed media on canvas | 120x250 cm | 2021
Matsūo Basho III, | mixed media on canvas | 60x170 cm | 2018
Matsūo Basho I | mixed media on canvas | 90x260 cm | 2018
Matsūo Basho II | mixed media on canvas | 60x170 cm | 2018
(Ueno, 1644 - Osaka, 1694) Born by the name Matsuo Kinsaku. His father, Matsuo Yozaemon (a low-ranking samurai). Traditionally, biographers think he worked doing kitchen duties. As a child he turned himself into a page, serving Todo Yoshitada, one of the greatest masters of the Haiku. Later, he would share the love for the haikai no renga. He positioned himself into the intellectual scene of Edo. He preferred to travel all around the country by foot. In 1958, Elvis Presley volunteered to join the US Army. From the sanitary inspection he went through when entering the Army, five photographs rest on a certain website. They show Elvis with other colleagues, also conscripts. These images unveil some awe, not just because of the virtual intimate atmosphere of the situation, but also the fragility present in the half-naked body that poses while going through a military protocol, and rests in this room at the same time that it is choreographed with cutouts of serialized images of landscapes. Like haikus: between the fragility and the landscape. Between senses and nature. Between the archive and the cutouts of a pattern. Between Elvis’ photography and maybe, secretly, a portrait of Matsuo Basho.
Elvis Presley in army induction 1958 | donwnloaded image
It is estimated that Valbaraá, the first and hypothetical supercontinent that existed on Earth, formed 3567 million years ago. Its existence is based in geochronological and paleomagnetic studies of protocontinents: Kaapvaal (Limpopo Province of South Africa) and Pilbara (Northwest of Australia). These areas are the only ones on the Earth that still have remains of the Archaic eon, a geological timescale that begun four billion years ago and ended 2.5 billion years ago, and inaugurated the eon Proterozoic era. It is said that Valbaraá, like its predecessors, separated from the rest at some point. The images that we observe in the panoramic paintings come from the stills of a British documentary on the first recorded expedition towards the South Pole. There, you can see fragments of ice floating similar to water lilies, illuminated, by the burned film. Vaalbara’s liquid ruins | mixed media on canvas | 600x120 cm | 2019
The return of the son | mixed media on canvas | 240x170 cm | 2016
Preparation for the marriage of the daughter | mixed media on canvas | 240x170 cm | 2016
There was a father | mixed media on canvas | 240x170 cm | 2016
In We eat cold eels and think distant thoughts I build based in the elements that escape the filmic documentation the filming accidents (camera falls, misframes and out of unintended field, etc.) the fights of the first black World Heavyweight champion (1908-1915), Jack Johnson. Almost all the presented fights developed around 1905 to 1920. Because of this, filming accidents were numerous since the cinematographic teams were still precarious. These frames taken from the film documentation of the event helped me to begin through painting a process of rewriting on the historical anecdote. The title of the piece is Jack Johnson's response to a interviewer that asked him. Why do women prefer African Americans lovers?
We eat cold eels and think distant thoughts | mixed media on canvas | variable size cm | 2015
Chet’s teeth | mixed media on canvas | 240x170 cm | 2016
Ext. Taxingue Nasby | mixed media on canvas | 240x170 cm | 2016
In Morocho's work, "pure memory" is associated with another type of life experience, not childhood but to the images that make up part of your cultural consciousness. What are those trigger-images? The shots of Bergman's films "Screams and Whispers", Resnais "Wild Herbs", "Love, the money, love ”by Gröning, the video“ Sunrise ”by David Claerbout, Monet's paintings on his boat-workshop, the plane crash of the musician Daniel Johnston and even the monument to Tarkovsky present at the Moscow film institute. These images interject to compose new tales, fragmented and impossible, thanks to a memory much closer to delusion and hallucination than "real" or objective. Jorge Aycart | Plot curatorial text fragment
CONTACT jorgemorocho.com @jorge_morocho jorgemor88@hotmail.com +(593) 099-312-0042