reviews

Gabriel de la Mora, Cristales de inevidencia (Glass Slides of Nonevidence), 2014, glass stereoscopic slides, cardboard box, 4 1/4 x 4 1/4 x 1 3/4". From “Formasobrefondo.

“Formasobrefondo”

Proyectos Monclova

Gabriel de la Mora, Cristales de inevidencia (Glass Slides of Nonevidence), 2014, glass stereoscopic slides, cardboard box, 4 1/4 x 4 1/4 x 1 3/4". From “Formasobrefondo.

The duality of figure and ground is a basic concept: necessary to visual perception, and seemingly automatically comprehensible. But what can contemporary art still do with the notion? With work by eighteen diverse artists, “Formasobrefondo” (Figureonground), curated by Willy Kautz, formerly of the Museo Tamayo, presented subtle and intelligent responses to such a seemingly simple question, illuminating the perceptual and cognitive variables in the entire unseen universe that exists behind these three simple words: figure on ground.

The invention of pictorial perspective radically changed the gaze itself—the production and comprehension of pictorial space—by allowing the artist to “figure the distance within the two-dimensional.” In this sense, Leo Marz’s painting series “Monolito” (Monolith), 2017, which opened the show, seemed like an exercise in optical training.

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