Innate juggler, Mauricio Garrido arrives to the MAC to invite us to his exhibition Celebración in collage, tapestry, sculptures and art video, in a delirious and interdisciplinary exercise that does not leaves space for a breath.
From the aged depth of an encyclopedia or from a presumptuous fashion magazine emerges Mauricio Garrido (1974), snipping plates with the effort to leave a precedent in a series of events that in appearance do not seem to have a connection. Still, his synectic skill allows him to relate elements that are apparently distant and give them sense.
A visual artist that has taken or better to say has dedicated 20 years in assemble reality with the imaginary. An art that agrees with Nancy Chodorow’s anthropological vision, “Is not only the culture what constitutes the individuals as subjects, but also the internal story of each individual through interpersonal processes and emotional contexts that they deal with in life”. An instance that is related to his childhood, when his mother, dressmaker of profession, gave him pieces of fabric to play, without even suspecting that it would result into a perennial collage.
A great part of his process is signed in a circumstantial trance, but to the extent that goes deep into the secret mechanisms of the intuition he is able to create folded universes of multiple references. Many of which answer to a disproportionate omniscient vision, to the world of Hieronymus Bosch, Matthias Grünewald or even Max Ernst and Leonora Carrington, with who he meets in that exultant overcharge of images vertiginously intervened, adding disturbing contents which does not means in any case to reject what proceeds him. On the contrary, it multiplies the bet, because it remembers, exasperates, and misplaces, which gives to his work a physiognomy where the quantitative moves based on the qualitative and vice versa as a thread that by not cutting overthrows what worries him, flirting with the baroque as equals, an encyclopedic dictionary, a mystic retable or the calendar pin-ups. In short, Garrido does not miss the occasion of unravel the elements that together create a multivalent mystery that he himself clears up, “ my works are expanding each time a little bit more, and with this the tale makes it more complex and chaotic. I like to incorporate hidden elements that cannot be seen at first sight. The idea is that each time the observer looks into the piece, can be able to discover something new.”
In an attempt for dominating the matter Garrido adds different textures and formats, from the monumental collages, such as Mictlan (2013), Ofelia, Las tentaciones de San Antonio, both from the series of the same name (2011), as well as the series of Tríptico de Babel: Paraíso, Los Jardines Colgantes e Infierno (2014), La creación del agua (diptych 2016). Following with fabrics and sculptures that go from the polytheism to a trilogy between the profane, the pagan and the mystical with Soft Kali, and several from the different Arcanos created on 2006 such as the El Mago, La Suma Sacerdotisa, El Papa, La Torre and other deities where he appropriates of such dissimilar interpretations as Aparición de la Virgen del Carmen en la Batalla de Maipú (2000) u otras tan transversales como Sísifo (2003), El árbol de la vida (2008), La migración (2008), La gama ciega (2010) or Dafne (2016) and to what he also adds his videos: Nieve, KM0, ambos del 2006, Méliès (2007), Leche (2008). All with the purpose of deliver autonomy to a task that it usually ends in a frame, in which the vane and the transcendent get along until creating an allegory where with authenticity reveals his temptations, ghosts and phobias. Although, in the surface of this lecherous game, it emerges a flow of daydreams that come from the most remote part of the art, which coexist in its most intimate status and of course in the outside of so many realities that does not give space for the parentheses or pause.
An interdisciplinary exercise in which neither the monologue or the easy sign are remitted, because it always moves to seek unexpected visual interextualities where the voice of Coré unconsciously resounds on these self-titles series from 2013, and also with the clear participation of the poet and visual artist Ludwig Zeller with his work Little Tales (2014), from which his spirits are liberally dragged to Garrido’s exhibition Celebración; merging them into a sinuous labyrinth that is apparently ends in a feast of which for some enigmatic reason no one is able to avoid, because not only them suffer an ambush, but many of us end up being accomplices of this motley surprise and maybe part of a coming unexpected hybrid.
If something distinguishes Mauricio Garrido, from start to end, is his kaleidoscopic approach, which that sometimes can be seen as a superfluous cramming, but by constantly throwing it self to reattaching and redefining everything from the abundance, turns into an essential axis of his rapture, and as if we enter to a cinema, we have to get our eyes familiar to this complex spell, being carried away by a staging where the artist awakes our senses challenging us to always see beyond, because here nothing is given y omission, but more as an emanation of meanings that spark a crucible of colors and shapes that from the beginning makes an echo on the stated by Joseph Cornell, one of the most important artists of the
assemblage :” look at everything as if you would be seeing it for the first time, with the eyes of a child, full with wander.”
For Mauricio Garrido, without a doubt, the collage is a dimension that allows him to expand; adding to his “performances” not only a conceptual richness but also countless intermittences with as Jean Dubuffet said, he can make “the art speak to the mind and not to the eyes.” By arranging that chaos and reoffending excess, creating a visual lexicon so particular that allow the observer to freely interpret what he or she sees, amplifying the boundaries of a correlate that has brought him to exhibit his pieces in important museum and galleries of Latin America, Asia, and Europe.