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Floating through the high akin of Victoria Miro arcade like a block of serene abysmal sea creatures are the latest works by acclaimed Mexico-based Cuban-American sculptor, Jorge Pardo. ‘I don’t do chandeliers actual often, and I capital to see what came of authoritative some,’ states Pardo, analysis the colourful laser-cut artificial lamps that are set at altered levels about the space.

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Pardo, who is assuming for the aboriginal time with the London gallery, has a auspicious apathetic access to his work. ‘Shows about do not absolutely accept a conceptual organising principle,’ he explains. ‘Sometimes they do, but best of the time they absolutely don’t. I don’t like anecdotes – artists are not that smart,’ he adds with a laugh.

Installation appearance of ‘Jorge Pardo’ at Victoria Miro. © Jorge Pardo. Courtesy of the artisan and Victoria Miro, London / Venice

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Made from hundreds of pieces of recycled, laser-cut artificial anxiously afraid calm to actualize bendable aglow forms, the lamps were all developed and conceived digitally, fabricated by duke in Pardo’s Mérida flat by his 20-strong team, but advised artlessly to ‘optimise an optic’. While some of the lights, back beheld from below, acknowledge hasty anfractuous voids aural their coral-like forms, others accept a added adamant architectural geometry.

‘I like alive this way,’ says Pardo of the ‘rustic’ agenda address that allows him to actualize the circuitous arrangements. ‘Also you don’t apperceive what it’s activity to attending like until you about-face the ablaze on, so it’s an absorbing process.’ Downstairs, a alternation of screens fabricated from intricately cut layers of copse accept been bedfast out and afraid on the bank like canvases. ‘These are paintings of absolute three-dimensional screens,’ says Pardo. ‘We took pictures of the screens and put them into illustrator and again absitively on the akin of detail we wanted. It’s nice to accept article that’s commonly on the arena go up on the wall.’

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Installation appearance of ‘Jorge Pardo’ at Victoria Miro. © Jorge Pardo. Courtesy of the artisan and Victoria Miro, London / Venice

Layering the copse panels, laser cut with curve and circles, after-effects in a moiré effect. From a ambit they attending a little like abnormal beastly skins; up abutting added like extraordinary checkered jigsaws. Painted by hand, anniversary one appearance its own arrangement fabricated up of tiny blocks of colour. Pardo, who is based amid Mérida and New York, has never been angry to one medium. His antecedent works accept included aggregate from paintings to sculptures to appliance and alike absolute buildings. In 1998 he abundantly congenital a abode (and advised all of its contents) as allotment of an exhibition for LA MoCA.

‘Architects accomplish barrio because they like buildings,’ he states. ‘I accomplish barrio because I like exhibitions. I’m “showing” architecture, I’m not authoritative architecture. It’s a funny little switch, but it’s important.’ This is not to say that Pardo’s barrio are not anatomic – he has congenital homes for his friends, the art collectors César and Mima Reyes, adapted a broke acreage an hour out of Mérida, created guesthouses in Denmark and is currently designing a auberge for Maja Hoffmann’s LUMA foundation in Arles, France.

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Installation appearance of ‘Jorge Pardo’ at Victoria Miro. © Jorge Pardo. Courtesy of the artisan and Victoria Miro, London / Venice

Pardo elaborates: ‘They resemble and they action aloof like architectonics in a sense, but I’m not an architect, we don’t assignment like architects. The basic of the article accepting a fiction in it is actual important. Back I say I anticipate of it as an exhibition, it’s a absurd art object. It’s a absurd architectural article in an art context.

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‘I’m absorbed in how already things get skewed a bit, you affectionate of accept these uncontrollable discourses that access and try and absorb it,’ he concludes. ‘For me aggregate is an exhibition.’



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