Mayte Alonso is a Spanish installation artist born and working in Madrid who has been exhibiting solo since 2001.
I stumbled upon her current exhibition “Caligrafías del espacio” (Handwritings of the Space) at Madrid’s Travesia Cuatro, a very nice commercial gallery in the Malasaña precinct, and was instantly impressed by the dynamicism of the work.
The front room was filled with hanging metal sculptures which look like wireframes turning inside-out of themselves. There were fantastic, contrasting interplays between: the heaviness of the metal and the lightness of the floating, negative space; the presence of a wireframe’s suggested form and the emptiness of its shape; the fixed points of its Cartesian coordinates and the fluid, moving motion of the lines which broke from definition.
For still objects they conveyed a lot of movement. Really nice stuff.
From the catalogue:
“Caligrafías del espacio” (Handwritings of the Space) is an installation that turns the transit of the spectator in the gallery into a sensorial experience. In the first room, four hanging structures that seem to filter through some invisible interstice in the ceiling, fills the room of a strange sensation of ambiguity. These metallic graphisms are border structures, between geometry and the organic thing, the slightness and the weight, the volume and the drawing of their reflection. These are forms submitted to a great containment but that demonstrate at the same time a constant movement and evolution.
In the last part of the exhibition, a literally sewn room by lines that form a maze around a door. This confuse way towards a threshold invites us to romp into the labyrinthe. When drawing for the subtle but certain obstacles of this Trama, we module our body to the rate of this singular space and the glance catches new perspectives between the metal lines and its shadows. The objective of this “site specific” is to construct an artwork in which the spectator, whith his route, with his participative experience of the artwork, completes the creation process. The room welcomes and intrigue the spectator and makes him contributor of the particular vision of the artist, of the context that gives a determined architecture to the sculpture and discovers already existing space tensions.
“My work concentrates in the space around the sculpture, understanding this as limit or border between two versions of a same place, transformed by the dialogue of the lines with the surrounding space. I like to alter the relation between the preparatory drawing and the final work, changing in many cases the material nature of both elements to affect the concept of the sculpture as a mental process…
…If the sculpture is a construction that plays with proportions, scale, emptiness, fluffiness, density, weights, in this way, in my artistic project I reduce matter to the minimum and its gravitational weight. The weight is replaced by a very high degree of space tension and by a weave of multiple visual relations. The result is the construction of a place that constitutes a section of an essentially continuous reality, in which consciousness is taken from the own perception