Untitled
Objects, 2011-2012
In its broadest sense my work deals with the human inability to identify themselves within structures, which these human beings have themselves created in the course of time. The sense of loss and failure to comply with these structures upon encountering them (marriage, culture, work environment, society, etc.) encourage humans to constantly, intuitively interpret the world and themselves, attempting to fit into these structures. This seemingly unnecessary action changes the fate of people. I consider it to be an exceptionally beautiful fact.
In my work I make use of elements produced or inhabited by people, as well as those that have helped people formulate an idea about what the world is and what they are. I often disassemble these objects and assemble them anew. Distance from the initial object to a new (often non-functional) object works as a material reflection of the distance between the initial being and the person within collective structures, showing how limited our adaptation and identification skills are when they come in contact with structures.
It often seems that a new, shifted object finds itself vertically, in an unstable balance, thus reflecting the blunder of humans and the need to remain on their feet, if only to maintain what is given and to confirm that they still EXIST.
This order making process helps to avoid aesthetic and functional criteria in creating a new object and compels to observing the question of order (ordering is a precondition of interpreting), for all ingredients of the element X are reviewed and rearranged based on unusual criteria, by performing seemingly unnecessary actions, which lead used elements to an unclassified form of self-loosing and self-assertion. (H.P.)
Artist's Bio:
Jaime Pitarch’s work includes sculpture, drawing, video and performance. Often using humble everyday objects such as a guitar, a chair, and household and consumer products, the artist employs inventive and witty strategies of displacement, recontextualization, and visual punning to peel away at their routine uses and meanings, posing what The Village Voice (writing about his 2006 solo show at the gallery) has called a series of “exquisite conundrums”.