Edgar Solorzano

The series is an investigation into the relationship between writing and space, understood as a human system for measuring and appropriating the environment. Through ink drawings, steel sculptures, and embroideries on linen, it explores the paradox of the line as a mass-less entity that only represents the occupation of space. The sculptures are activated by sunlight to "write" with shadows, while the embroideries pierce the fabric without altering it. Conceptually, it dialogues with Sol Lewitt, Mirtha Dermisache, and Matías Goeritz, questioning the boundaries between the calligraphic, the geometric, and the representative.

1 works in the series

It focuses on the concept of territorial occupation, exploring how it can be replicated and understood through repetition. The project consists of small-scale drawings experimenting with different ways of occupying space according to a set of rules. Each drawing contains 900 forms that function as a graphic alphabet, aiming to mimic the process of learning a language within defined limitations. The project seeks to revisit the fundamental principles of drawing and its relationship with space. It is inspired by exercises that children use to learn languages through repetition, exploring patterns and languages that connect written and drawn forms. The work is influenced by the artistic styles of Mirtha Dermisache, Hanne Darboven, and Sol Lewitt.

3 works in the series

As an exercise in reflection on the imprecision of spatial memory, each piece in the PROXIMITIES series is composed of six enamel paintings on fiberglass mesh, each being a plan view representation of the memory of an architectural space with which I have developed an affective bond: my grandmother's dining room, my aunts' living room, my childhood home's kitchen. The sum of these six plans constitutes an average memory, which highlights the inaccuracy of memory regardless of the affectivity developed with and in each space

2 works in the series

The project explores the effect of folding on the properties of matter. When a piece of paper is folded, it cannot return to its original state without showing evidence of the fold. It is either folded or not, so the paper can be described in the present tense as "folded" or in the past tense as "unfolded." The search for a third folded state led me to consider a time when the paper could exist simultaneously in its current state and in its possible future state. Each diptych consists of three identical papers: one in its original unfolded state, one folded, and one with the potential to be folded. The first piece represents what the paper is and was. The second piece represents what the paper is and could be.

4 works in the series