10 and 11. La piedra sustituta II, 2020
Photography : archival pigment print · 61 x 81.3 x 0.3 cm 24 x 32 x 0.1 inch
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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
Technique & Support
Dimensions ( cm • inch )
61 x 81.3 x 0.3 cm 24 x 32 x 0.1 inch Height x Width x Depth
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Description
This artwork presents a striking juxtaposition of surreal elements against a vivid red background, split into two distinct panels. On the left, a figure emerges from rugged stones. With eyes shielded by a headpiece, this figure gazes upward at three hovering bananas and a suspended handgun—elements that challenge conventional symbolism. The right panel features a concealed figure beneath a thin, striped fabric, legs visible, and another handgun placed below, reinforcing the theme of hidden identity. The consistent use of red creates a dramatic contrast, enhancing the surreal and provocative atmosphere. This composition boldly explores themes of concealment, power, and absurdity, inviting viewers to decipher the connections between the objects and the figures. The clever alignment of seemingly disparate items evokes curiosity and introspection, making it a compelling study of visual and thematic contrasts.
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 32 in. Individual Size: 24 x 16 in. Edition of 10 + 1AP Other sizes: 40 x 53.2 in. Edition of 10 + 1AP
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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