DESBORDE
To extend the edges and cross fenced-in grounds, to flood the margins within cycles of renewal. Overflow as an inevitable condition of life experiences that favor the continuity of ecosystems. Subjects coexist by intertwining their boundaries and embracing the borders imposed by other entities. That which can no longer be contained generates new possibilities for establishing focus: leaves and branches that break through cement constructions, bodies of water that overflow their channels, and roots that shift foundations.
"Overflow" by Juan José Barboza-Gubo brings together a series of installations composed of various media, such as painting, photography, and sculpture. The body of work reflects his constant research into new technical processes, which has been fundamental in the artist's practice in recent years, evoking in this case the movement and transformation of contexts and their elements. Thus, the artist incorporates diverse nuances of light into the installations: levels of clarity and opacity. He also creates atmospheres inspired by the imaginary of the Amazonian forest, integrating materials—wood or acrylic—that, though distant in their composition, coexist under the same forms and structures, constituting entities that circulate and extend.
In "Overflow," the images of urban and natural landscapes of the Peruvian Amazon region are the starting point for a series of reflections on human experiences, both individual and collective, and the processes of self-awareness and vital interrelationship with other beings and elements. The patterns of the tiles in the buildings along the riverside of the city of Iquitos are intervened and reconstructed to suggest coexistence and transgression between natural elements and human constructions. These appear contained in a composition that, though defined by its volumes, is constituted according to the perspective from which it is viewed.
In "Overflow," temporal cycles are also interwoven, and processes of change are linked together. Solid materials can expand fluidly due to heat, following the courses of leaves, branches, and roots. Some translucent surfaces suggest forms, while others blur and obscure them. Landscapes are framed for the viewer through reflections that allow them to be reconstructed, and in some cases, hidden. Overflow develops in the extension of material boundaries, in the unfolding of compositions, and in the affirmation of new possible dimensions for beings. In this way, spaces of convergence allow for broader questions to be addressed regarding the configuration of human identities, which become intertwined and extend, blurring their borders.
Giuliana Vidarte (Curator)
