Carlos Ramírez ZORROMONO

UMBRAL

Project Info

  • 💙 Santa Lucia de Ocón
  • 💚 Arte en la tierra Team
  • 🖤 Carlos Ramírez ZORROMONO
  • 💛 Sofia Moreno y Carlos Rosales

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Assemblage: boar skin, chains, glycerin soap, found objects, drawing and painting on canvas
Assemblage: boar skin, chains, glycerin soap, found objects, drawing and painting on canvas
Arte en la tierra XIX
Assembly: Bone, chains and glycerin soap
Assembly: Bone, chains and glycerin soap
Cave general view
Cave general view
Assemblage: mummified dog, flowers, glycerin soap, paint and found objects
Assemblage: mummified dog, flowers, glycerin soap, paint and found objects
Details
Details
Assemblage: mummified dog, flowers, glycerin soap and found objects
Assemblage: mummified dog, flowers, glycerin soap and found objects
Details
Details
cave entrance
cave entrance
Assembly: chains, bone, glycerin soap and plants
Assembly: chains, bone, glycerin soap and plants
Details
Details
Assembly: chains, bone and glycerin soap
Assembly: chains, bone and glycerin soap
View of the cave
View of the cave
Assembly: chains, bone and glycerin soap
Assembly: chains, bone and glycerin soap
Umbral refers to an area of passage, a state of transit, a portal or an entrance door, to the origin of an area of ambiguity in which something ceases to be what it was, to potentially transform itself into anything else. The project stems from the invitation to participate alone in the 19th edition of arte en la tierra, in which the aim is to generate a playground for artistic creation in seven locations, with Santa Lucia de Ocón and its heritage as the board. Liminal installations that, like a portal, transport us to sacred spaces: that were, will be or may be... Works that start from dialogue and direct action: with matter, form and together with neighbours of the village. Conversations that are transported to a physical, living and pulsating plane. Questions about the way of inhabiting, about the protection of heritage and about care, take shape through the reactivation of the space with assemblages of found elements and offerings, drawings, soap, intervened fabrics, bones, skins, plants, water, flour and bread. Thus generating my own database, which forges my identity with decrecentist approaches, inhabiting the space through play, error and human chance, involving the people of Santa Lucia de Ocón in the process and creation.

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