mexico-city

View of “Miguel Fernández de Castro,” 2016. Floor: Tiempo lamido (Licked Time), 2016. Wall, from left: Sásabe #14, 2015; Sásabe #29, 2016; Sásabe #18, 2011–16.

Miguel Fernández de Castro

Proyecto Paralelo

View of “Miguel Fernández de Castro,” 2016. Floor: Tiempo lamido (Licked Time), 2016. Wall, from left: Sásabe #14, 2015; Sásabe #29, 2016; Sásabe #18, 2011–16.

An inexplicable insecurity; an empty uncertainty; a strange, ineffable sensation resembling desire—these were the responses triggered in those who entered “NEGRO, NEGRO” (Black, Black), the most recent solo exhibition by Miguel Fernández de Castro. The visitor’s gaze encountered exceedingly smooth domesticated surfaces of things seen and yet not seen: sixteen photographic images and a floor covered with thirty-five semicubic rocks made of condensed minerals (Tiempo lamido [Licked Time], 2016) that had been perforated into whimsical shapes. Fernández de Castro’s work emerges from a familiarity with not only the territories, roads, holes, and erosions of Sonora, Mexico, the state where he was born and still lives, but also with the way of life, challenges, and dangers involved in maintaining a cattle ranch today in this specific territory. Saturated with various fortifying

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