GABRIEL OROZCO
THINKING IN CIRCLES
The Fruitmarket Gallery
45 Market Street - Edinburgh
1/8/2013 - 18/10/2013
Gabriel Orozco (born Jalapa, Veracruz, 1962) is one of the foremost international artists of our age. Rising to prominence in the early 1990s, he has developed a consistently innovative practice, making work which not only captures the imagination but also powerfully engages with key material and conceptual issues of what it is to make art.
This new exhibition takes the 2005 painting The Eye of Go as its starting point, and looks at how the circular geometric motif of this painting – part of a way of thinking for Orozco, a way to organise ideas of structure, organisation and perspective – migrates onto other work, recurring in other paintings, sculptures and photographs. A highlight of the exhibition is a series of large geometric works on acetate, made in the mid 1990s, yet never before exhibited. Rather than surveying the whole range of Orozco’s practice, the exhibition seeks to cut a conceptual slice through it, to look deeply into the mechanics of the artist’s thinking and working process. Not only does the exhibition propose a different view of Orozco’s major contribution to changes in art in the 90s but it brings to the fore the urgent problem of art’s ‘makeability’ now.
THINKING IN CIRCLES
The Fruitmarket Gallery
45 Market Street - Edinburgh
1/8/2013 - 18/10/2013
Gabriel Orozco (born Jalapa, Veracruz, 1962) is one of the foremost international artists of our age. Rising to prominence in the early 1990s, he has developed a consistently innovative practice, making work which not only captures the imagination but also powerfully engages with key material and conceptual issues of what it is to make art.
This new exhibition takes the 2005 painting The Eye of Go as its starting point, and looks at how the circular geometric motif of this painting – part of a way of thinking for Orozco, a way to organise ideas of structure, organisation and perspective – migrates onto other work, recurring in other paintings, sculptures and photographs. A highlight of the exhibition is a series of large geometric works on acetate, made in the mid 1990s, yet never before exhibited. Rather than surveying the whole range of Orozco’s practice, the exhibition seeks to cut a conceptual slice through it, to look deeply into the mechanics of the artist’s thinking and working process. Not only does the exhibition propose a different view of Orozco’s major contribution to changes in art in the 90s but it brings to the fore the urgent problem of art’s ‘makeability’ now.
