5 and 6. La piedra sustituta I, 2020
Photography : archival pigment print · 61 x 76.2 x 0.3 cm 24 x 30 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 76.2 x 0.3 cm 24 x 30 x 0.1 inch Height x Width x Depth
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Credentials
Vetted seller since 2019 • Top Seller
Description
This artwork is a striking diptych featuring two compelling images side by side, set against a muted pink backdrop that exudes subtle warmth. Each frame displays a singular stone, atop which a human figure is intriguingly intertwined, emphasizing a raw and intimate interaction between body and nature. In the left image, the figure is partially obscured, with legs elegantly draped over the rock, inviting curiosity about concealment and exposure. The right image presents a contrasting dynamic, where limbs extend with a sense of liberation and movement, fingers elegantly poised, capturing a fleeting moment of grace. This artwork uniquely blends themes of vulnerability and strength, juxtaposing the rigid, timeless solidity of the rock with the fluid, temporal nature of the human form. Its minimalist composition and deliberate posture evoke a sense of harmony and tension, encouraging a thoughtful reflection on the interplay between human existence and the natural world.
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 I (The Substitute Stone I) Series. Archival Pigment Print on Hahnemühle paper Dimension: Overall size: 24 x 30 in. Individual Size: 24 x 15 in. Edition of 10 + 2AP Other sizes: 40 x 50 in. Edition of 10 + 2AP
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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