Works 2005-08

O S C A R S A N T I L L A N
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Memorial /// The New York Times blanked throughout a chemical reaction, and a miniature molded by using the dry ink extracted from the newspaper /// 2008
Chemical counseling by Sean Bird

Failed dawn /// sculpture /// 118 fluorescent lights /// 2008


Buried sparkle /// Photography of a fluorescent light under the snow /// 90x60 cms. /// 2008



Spider Statement /// Photography /// 90x60 cms. /// 2008


End of travelling /// Oil painting volume /// 4.7 kg. of oil paint /// 36x 40x 22 cms. (14”x15.7”x8.6”) /// 2005-06
Through a long process of drying, the oil paint turns into a perfect mass to mold with. Consequently, this mass of paint is used to make the whole volume.
Just because of the position on the wall, the skull looks like an urinal from the front view.

Degenerated practices /// oil painting volume /// 27.3 kg. of oil paint /// 150x 60x 50 cms. (59”x23.6”x20”) /// 2005
Through a long process of drying, the oil paint turns into a perfect mass to mold with. Consequently, this mass of paint is used to make the whole volume.


The drag
/// public intervention

More info in www.elarrastre.blogspot.com

Arte para perros /// exposición para nuevos públicos /// 2002
Art for dogs /// exhibition for new public /// 2002
Favor no arrojar alfombras en el piso /// escultura /// Alfombra confeccionada exclusivamente con cáscaras maduras y podridas de banano /// 2005
Please do not throw carpets on the floor /// sculpture /// Carpet made up exclusively with ripe and rotten banana peels /// 2005

Prolongación /// dispensador de gasolina cuya manguera mide 1.3 kms. /// 2007
Prolongation /// fuel pump with 1.3 kms. long hose /// 2007
COLECTIVO LALIMPIA

Conductas en la Pinacoteca /// óleo y grafito sobre lienzo /// 170 x 110 cms.
Behaviors in the museum /// oil painting and graphite on canvas /// 2004
WITH ILICH CASTILLO


Sacos de carbon /// fotografia /// 90x60cms.Sacks of coalCOLECTIVO LALIMPIA


Statement - Contact info

The gap between the possible and the impossible, between reality and fiction, is the creative territory from where my practice departs.
The repertoire of strategies for exploring this terrain has, in recent years, grown to include means such as: deceiving looks (i.e. a blurred video image, not produced through digital manipulation, but through the action of breathing on the camera lens); complex processes producing simple results (i.e. a colorful photographic composition as evidence of the effects of pigments injected into my own seminal vesicles); and, elaborate visual narratives (i.e. the documentation of durational actions, edited into highly compressed videos or slide projections).
Then, these strategies interweave with topics, bearing a more intricate cartography. In fact, there are two very prominent topics in my recent works: masculinity, or more specifically, masculinity from the sensibility of romanticism, something between Thoreau and P.T. Barnum. The second issue is a more subtle one, which I am tempted to call “phenomenological ethics,” where a physical action in the world is, in itself, a political statement.
Within the map of my utopian desires, there is a device able to fill the gap between clocks and calendars, and a rebellion in which the crowd whispers their demands.

Contact: santillano@vcu.edu
Oscar Santillan is represented by dpm