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8, 9, 10 and 11. La piedra sustituta II, 2020
José Sierra  

Photography : archival pigment print · 61 x 162.6 x 0.3 cm 24 x 64 x 0.1 inch

€6,008 6 008 €
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Shipped from: United States

Delivery to: France , € 235

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Verified Reviews : 9.6/10
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About the artwork

Type

Photography : numbered and limited to 10 copies

10 copies available

Condition

Artwork sold in perfect condition, not framed

Authenticity

Sold with certificate of Authenticity from the artist

Invoice from the gallery

Signature

Signed artwork

Dimensions ( cm • inch )

61 x 162.6 x 0.3 cm 24 x 64 x 0.1 inch Height x Width x Depth

Sold by

Credentials

Vetted seller since 2019 • Top Seller

Description


This striking artwork is a four-panel composition set against a vivid red background. Each panel features a human figure interacting with surreal elements, creating a provocative narrative. In the first panel, a figure reclines with bananas nearby, suggesting themes of temptation or absurdity. The second panel introduces a crucifix-like object, heightening the sense of spirituality juxtaposed with the mundane. A bent figure occupies the foreground, adding tension. The third panel captures a seated person with a delicate balance of objects above, including bananas and a firearm above their head, evoking thoughts on power and vulnerability. The final panel is a disorienting perspective showing the underside of a human form that seems suspended, with a gun below, suggesting danger and fragility. The consistent use of a stark red background amplifies the drama and intensity throughout the scenes, making this artwork both captivating and unsettling in its exploration of complex themes.

Showing a body that is hidden is the aesthetic apology for the insane judgment that the artist himself has taken as an excuse for not being "pointed at" or rather as self-pointing. The stone is taken by the body that is unprotected as a metaphor for the weakness that seeks protection, and the body is taken by the stone as a consequence of an insecure state, how can a stone take a body? If this is the one that "institutionally" does it. Jose Sierra work is deeply influenced by themes of self-representation and a homoerotic gaze. Through his unique aesthetic, he creates abject staged environments that challenge traditional norms. His art often merges personal identity with broader cultural commentary, as seen in his notable works like "Anti-Personnel Grids" and "Self-Portrait." Sierra's pieces are a bold fusion of urban art and intimate self-exploration, reflecting his dynamic engagement with contemporary culture. 

From La piedra sustituta II (The Substitute Stone II) Series. Archival Pigment Print on Hahnemühle paper Dimension: Overall size: 24 x 64 in. Individual Size: 24 x 16 in. Edition of 10 + 1AP Other sizes: 40 x 106.4 in. Edition of 10 + 1AP

Nude

Human body

Men

Rocks

Model

Red

José Sierra, 8, 9, 10 and 11. La piedra sustituta II

José Sierra

Colombia  • 1991

Presentation

Jose Sierra (b. 1991 in Cartagena de Indias, Colombia) obtained his Master in Fine Arts from the University Institute of Fine Arts and Science of Bolivar (UNIBAC) in 2012 with a body of work titled Anti-Personnel Grids, which has since exhibited in different locales of Colombia. Shortly after, he was commissioned by the Colombian Ministry of Culture alongside the artist collective Si Nos Pagan Boys to participate in an urban art exposition titled, La Muerte Se Va de Vacaciones (Death is Going on Vacation) that was executed as a reaction to the traditionalism of Cartagena.

In 2014, he exhibited at the Museum of Contemporary Art of Cartagena and in La Presentacion Casa Museo Arte y Cultura. He then exhibited in the Cultural Center Ciudad Movil in 2016 with a body of work created in collaboration with the Colombian photographer, Camo. In the same year, he was nominated for the International Luxembourg Art Prize for his recent work Self-Portrait. Sierra's ongoing body of work continues to be based around his self-representation from which he addresses a homoerotic gaze through the configuration of abject staged environments that he merges himself within as “a subject of aesthetic creation."

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