Sandra Ferrer (°1989, Gandia, Spain) makes photos and conceptual artworks. By applying a poetic and often metaphorical language, Ferrer creates work through labour-intensive processes which can be seen explicitly as a personal exorcism ritual. They are inspired by a nineteenth-century tradition of works, in which an ideal of ‘Fulfilled Absence’ was seen as the pinnacle.
Her photos appear as dreamlike images in which fiction and reality meet, well-known tropes merge, meanings shift, past and present fuse. Time and memory always play a key role. By referencing romanticism, grand-guignolesque black humour and symbolism, she often creates several practically identical works, upon which thoughts that have apparently just been developed are manifested: notes are made and then crossed out again, ‘mistakes’ are repeated.
Her works sometimes radiate a cold and latent violence. At times, disconcerting beauty emerges. The inherent visual seductiveness, along with the conciseness of the exhibitions, further complicates the reception of their manifold layers of meaning. By emphasising aesthetics, she seduces the viewer into a world of ongoing equilibrium and the interval that articulates the stream of daily events. Moments are depicted that only exist to punctuate the human drama in order to clarify our existence and to find poetic meaning in everyday life.
Her work urge us to renegotiate photography as being part of a reactive or – at times – autistic medium, commenting on oppressing themes in our contemporary society. By contesting the division between the realm of memory and the realm of experience, she absorbs the tradition of remembrance art into daily practice. This personal follow-up and revival of a past tradition is important as an act of meditation.
Her works are often about contact with architecture and basic living elements. Energy (heat, light, water), space and landscape are examined in less obvious ways and sometimes developed in absurd ways. In a search for new methods to ‘read the city’, she focuses on the idea of ‘public space’ and more specifically on spaces where anyone can do anything at any given moment: the non-private space, the non-privately owned space, space that is economically uninteresting.
Her works are often classified as part of the new romantic movement because of the desire for the local in the unfolding globalized world. However, this reference is not intentional, as this kind of art is part of the collective memory. By manipulating the viewer to create confusion, she creates with daily, recognizable elements, an unprecedented situation in which the viewer is confronted with the conditioning of his own perception and has to reconsider his biased position.
Her collected, altered and own works are being confronted as aesthetically resilient, thematically interrelated material for memory and projection. The possible seems true and the truth exists, but it has many faces, as Hanna Arendt cites from Franz Kafka. By rejecting an objective truth and global cultural narratives, she wants to amplify the astonishment of the spectator by creating compositions or settings that generate tranquil poetic images that leave traces and balances on the edge of recognition and alienation.
Her works are on the one hand touchingly beautiful, on the other hand painfully attractive. Again and again, the artist leaves us orphaned with a mix of conflicting feelings and thoughts. Sandra Ferrer currently lives and works in Valencia.
Wooster Goobs #he Exhibitions, Further Complicates The Reception Of Their Manifold Layers Of Meaning. By Emphasising Aesthetics, He Seduces The Viewer Into A World Of Ongoing Equilibrium And The Interval That Articulates The Stream Of Daily Events. Moments Are Depicted That Only Exist To Punctuate The Human Drama In Order To Clarify Our Existence And To Find Poetic Meaning In Everyday Life.
His Works Are Saturated With Obviousness, Mental Inertia, Clichés And Bad Jokes. They Question The Coerciveness That Is Derived From The More Profound Meaning And The Superficial Aesthetic Appearance Of An Image. By Parodying Mass Media By Exaggerating Certain Formal Aspects Inherent To Our Contemporary Society, He Tries To Create Works In Which The Actual Event Still Has To Take Place Or Just Has Ended: Moments Evocative Of Atmosphere And Suspense That Are Not Part Of A Narrative Thread. The Drama Unfolds Elsewhere While The Build-up Of Tension Is Frozen To Become The Memory Of An Event That Will Never Take Place.
His Works Are Given Improper Functions: Significations Are Inversed And Form And Content Merge. Shapes Are Dissociated From Their Original Meaning, By Which The System In Which They Normally Function Is Exposed. Initially Unambiguous Meanings Are Shattered And Disseminate Endlessly. Goobs Wooster Currently Lives And Works In Solvang.## %# Rosado Mike