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Galería Tomás March is opening an exhibition on September 25th 2009 featuring recent work by the artist Deva Sand (Strasbourg, 1968) titled “Satori, o la captura de los intangible” [Satori, or capturing the intangible]. Combining sculpture, painting and installation created with recycled materials, the artist composes a world of sculptural hybridisations in a play of similitude and difference between the familiar and the strange, connecting the self with the habitat, taking her groundbase reference in the everyday objects that surround us.
Deva Sand takes a close look at contrasts, at the cracks in things, at what is abandoned in street skips and then takes them further than the hypnosis of the ready-made in order to create impossible compositions. Sand casts light on the fragility of the world, bringing its life to the surface with all the irony and lightness peculiar to arte povera coupled with an aesthetic leaning toward baroque-minimal.
Over the last decade or so Deva Sand’s work has been exploring notions of the habitat, constructing spaces with found objects and waste materials, decontextualized objects that take on new life under another light. In this way, and without abandoning her ironic vision of art, the artist adds a further twist of the screw, creating a thee-dimensional visual space that cuts through the solid barrier of the walls of the exhibition hall by means of a play of drawn lines emanating from both the ground and wall sculptures.
“I locate my work in the field of the spiritual quest, relating the self with the habitat, taking my reference from the everyday, from objects in our surrounding environment.
These are often found, forgotten or abandoned objects. Chairs, tables, doors, windows, wallpapered walls are sources of suggestion, once polished, taken out of their context and transformed.
The self, the dwelling place of the being, is represented by a perfect, empty space.
“Satori” is Japanese for enlightenment. Only through mental stillness can one arrive at the essence. This neutral space could be my interpretation of capturing the intangible.”
Deva Sand, 2009 |
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