Ahead and beyond of everyone’s time, space and rhythm, 2009. Table, Silverware, chinaware, candles, cutlery, flowers, napkins, cups, vase, table top, chandeliers, disco ball.
Risk and Tension. It seems that Alejandro Almanza likes to keep viewers on their toes. Working mostly with construction materials and domestic interiors, Almanza creates situations of stress through sculpture and installations; a house of cards that precariously threatens to fall or break. Danger seems to be a constant in his work, as well as the exploration of materials and our perceptions of them. How can a set of light bulbs hold a cinderblock? Through his work we realize that the most fragile materials, can also be the strongest ones. Cement is a material that Almanza uses frequently. It is the core building block of common structures, but easily malleable and fragile as to take in the most subtle variations. As Almanza creates his pieces, he uses a system of weights and counterweights to produce a balance between objects and materials. The visual instability created by his pieces recall Richard Serra’s prop pieces that provide seemingly provisional arrangements to permanent works.
Alejandro Almanza was born in Mexico City. He lives and works between Mexico and New York.
Andamio, 2007. Floresecent bulbs, metal brackets, plywood, light bulbs, forge steel clamps, ballast.. Commissioned by and exhibited at Art In General, New York, NY
Horror vacui (Detail), 2010. Concrete, painting. 25 x 38 x 13 inches
Untitled (Ropero), 2006. Wardrobe, fluorescent light bulbs, fish tanks, decorative bricks, plant, bed sheet.
Images provided by Magnan Metz