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, has been the creative territory from where my practice departs.
The repertoire of strategies is always expanding and includes means such as: the transmutation of materials; documentation of unorthodox actions; or, the actual deception of the eye without the use of post-production methods.
Then, these strategies interweave with a phenomenological approach committed to creation as a physical action in the world, as the embodiment of reality.
As every new experiment requires a different set of skills, a prominent amount of effort has been devoted towards the dialogue with others. The igniting spark comes always from unapologetic speculation, from the simple curiosity of asking “what if” to others and myself.
I consider my practice as a vindication of curiosity. I hope to find what is epic in the small, in what is obvious but somehow unnoticed, in a blink, in a falling leaf, in a newspaper, in a casual encounter.

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