mexico-city

View of “Ernesto Mallard and Pedro Reyes.” From left: Ernesto Mallard, Natura-círculo, 1970; Pedro Reyes, Capula Klein, 2006.

Ernesto Mallard and Pedro Reyes

LABOR

View of “Ernesto Mallard and Pedro Reyes.” From left: Ernesto Mallard, Natura-círculo, 1970; Pedro Reyes, Capula Klein, 2006.

Ernesto Mallard made his radiant steel and cord “Natura” reliefs between 1968 and 1972—the year of Pedro Reyes’s birth. Indeed, Reyes has in many ways lived under their sign. The older artist’s late output has provided Reyes with the formal basis for a number of weblike works produced over the past fifteen years. In two pieces made for the pair’s recent two-person show, in fact, Reyes employs Mallard’s exact technique of stretching vinyl lines over metal bridges, here forming bright oblongs and a harsh TV test pattern in, respectively, Tondo and Caja Boba (Silly Box), both 2014. At Reyes’s invitation, Mallard exhibited the “Natura” works for the first time in forty years. Their rich blues, burgundies, and black support a palette shot through with gold and yellow; vinyl starbursts, writhing paisleys, and long crescents span shards of painted stripes. Mallard frames his deep

Sign-in to keep reading

Artforum print subscribers have full access to this article. If you are a subscriber, sign in below.

Not registered for artforum.com? Register here.

SUBSCRIBE NOW for only $50 a year—65% off the newsstand price—and get the print magazine plus full online access to this issue and our archive.*

Order the PRINT EDITION of the February 2015 issue for $17 or the ONLINE EDITION for $5.99.

* This rate applies to U.S. domestic subscriptions.