![[no title] by Gabriel Orozco](/_next/image?url=https%3A%2F%2Fd2w8kbdekdi1gv.cloudfront.net%2FeyJidWNrZXQiOiAiYXJ0ZXJhLWltYWdlcy1idWNrZXQiLCAia2V5IjogImFydHdvcmtzLzQxOTViOTJhLTQyMTUtNDAwNy04N2Y0LTEyYTRiNjBmMzRkMy80MTk1YjkyYS00MjE1LTQwMDctODdmNC0xMmE0YjYwZjM0ZDNfZnVsbC5qcGciLCAiZWRpdHMiOiB7InJlc2l6ZSI6IHsid2lkdGgiOiAxOTIwLCAiaGVpZ2h0IjogMTkyMCwgImZpdCI6ICJpbnNpZGUifX19&w=3840&q=75)
Dimensions: image: 200 x 165 mm
Copyright: © Gabriel Orozco, courtesy Marian Goodman Gallery, NY | CC-BY-NC-ND 4.0 DEED, Photo: Tate
Curator: Gabriel Orozco, born in 1962, created this untitled print currently held in the Tate Collections. The dimensions of the image are 200 by 165 millimeters. Editor: The composition immediately evokes a sense of quiet introspection, almost like a memory fading at the edges. Curator: Indeed, the sepia tones and the blurred, almost dissolving form challenge the viewer to find a stable figure within the ground. The work lacks stark contrasts, flattening any hierarchy. Editor: The central image, resembling a vase or perhaps even a tear, feels archetypal. Is Orozco exploring themes of transience or the fragility of forms? Curator: He's certainly interested in the interplay between presence and absence, the dialectic of positive and negative space is evident. The print invites us to question our perceptual certainties. Editor: Ultimately, this subtle work encourages us to meditate on the very nature of representation and impermanence. Curator: Precisely, it is a lesson in seeing beyond the surface.
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This is one of a suite of twelve prints in a portfolio entitled Polvo Impreso meaning ‘printed dust’. The images were created by pressing layers of lint onto soft ground etching plates and printing the resulting texture, using the chine collé technique, onto natural Gampi (a very thin paper) laid on Fabriano Tiepolo paper. The portfolio was printed by Jacob Samuel, Santa Monica, USA and published by the artist and Editions & Artists’ Books Johan Deumens, Heemstede, the Netherlands. Tate’s copy is the twenty-second in the edition of twenty-five plus seven sets of artist’s proofs. Ten copies are bound books; the remaining fifteen are in loose portfolios, presented in a box. Tate’s is one of the loose portfolios.
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