Pablo Fernandez Zapata

I have always seen the absurd as a medium in art. A sort of deep and messy pond, where nothing makes sense, but one can fish for questions. These questions can be about the pond itself, but also about the projection of it on each of the objects, experiences and situations surrounding the experience of living. The chaotic presence of materiality has also always been one constant companion but also a worthy contender in my work, having to deal with its dynamic, but also, in its way, anarchic qualities, with an almost dictatorial authority intrinsic to its condition.

My work is nourished by my intuition and personal experience, as well as concepts that combine the abstract with the concrete - the interplay and relationship between time, space and reality. I am interested in the combination between different, especially raw and simple materials or elements with technological devices which provide the sculptures a sort of life of their own, some autonomy.

The way I start the creative process is very intuitive, for me it is attractive to start working from explorations more in the abstract realm than from a structured and clear idea or concept. I prefer to look and find questions rather than answers.(I find them more interesting, there is place to grow, place to develop ideas) This path has been taking me to places where I tend to speculate with the  idea of a work of art itself, places where the process gains more importance than the classic idea of a finished sculpture, but in this whole process i have been finding a lot of beauty in the ruins, the leftovers of these processes as well.

These words and images should be experienced as flowing with a river: a body of water dragging mineral and vegetal sediment that becomes richer and richer with every segment touched. It is a mix of fragments attached to one another, some parts more precisely and stable than others, trying to build a whole but never quite achieving it, always in the process of becoming. Our experience of the world is a muddy, sticky mass of perception. What we perceive as one object, for example, we suddenly learn is part of a bigger assembly of things that are related to one another, and that, depending on the context, we will experience it in different ways.