Entropías by Gabriel de la Mora unites works from 5 of the artists major series for his individual exhibition at PROYECTOSMONCLOVA
. The presentation encompasses works from his Burned papers, Neon papers, and Plafonds series. Additional works on view include the most ambitious work from de la Moras CACO3 series produced to date, which features 273,472 individually affixed pieces of eggshell as well as a significant new piece from his Obsidian (volcanic glass) series.
De la Mora is known for the precision of his practice that reframes and reorganizes discarded or obsolete objects that he acquires mostly in and around Mexico City. Antique radios, metro tickets, microscope slides, and shoe soles are cut and set in exact geometric and random arrangements, giving the objects new life. Author Dr. Eliza Mizrahi Balas explains, de la Moras strategy is to communicate, share, thematize, objectify things that are not thematizable, shareable, or objectifiable. His serial compulsion is anchored in the constant dissimulation of the materials he uses, in his very particular way molding and ordering them through trace, error, and transformation.
De la Moras works reveal the traces of time and memory engrained into his materials through the passage of years-or decades-while also offering a reconsideration of conceptual art histories such as the monochrome, the readymade, and assemblage. The result of this practice, says Dr. Mizrahi Balas, is a questioning of the role of art and that of the artist.
The law of conservation of energy, known as the ﬁrst law of thermodynamics, states that the change in the internal energy of a system is equal to the sum of the heat added to the system and the work done on it. Simply put, energy can be neither created nor destroyed. It can be only transformed.
Through appropriation of discarded everyday objects that appear to have concluded their use value, Gabriel de la Moras works can be considered something akin to assisted ready-mades. The metamorphosis of scrap like eggshells or Neon paper to Art that takes place through the processes of re-contextualization bears testament to the power of the artist as agent of transformation. It is in the ﬁrst law of thermodynamics that De la Mora ﬁnds inspiration for his practice; likening thermodynamic energy with the metaphysical energy imbued in his materials and the aura of the art object. Neither agent of creation nor of destruction, De la Mora is an artist of transmutation.
As much as he challenges conventions of what an artist is or does, De la Moras works test traditional categorization of visual art. Not quite sculpture, nor drawing or painting, not text nor monochrome, not ephemeral or permanent, they somehow are all of these things and none at all. In resistance to taxonomy they arrange themselves between formalism and conceptualism.
Time and process, or time-as-process, is critical to the material metamorphoses in De la Moras work. His strictly formalist aesthetics deny lyrical distraction to hold focus on the staggering consumption and control of time inherent to his production. There are meditative-like processes as seen in hundreds of thousands of individually accounted and aﬃxed eggshells pieced together over ﬁve years in the series CaCO3, or works in the Plafones series that are dependent on the passage of more than one hundred years to suﬀuse the material with dust, heat, and humidityregistering time as information. The series Papeles quemados required a decade of chance-driven burning of thousands of sheets of paper, and was completed only when a forty-third incinerated sheet fortuitously petriﬁed into rigid carbon rather than ﬂaming-out into ash, representing the total number of pages of De la Moras Master thesis. The time dedicated to process, the chance and the failure therein of each attempt is itself the work of art. The intention and dedication to carve brittle volcanic glass letters in the Obsidiana series represents the works fruition as much as the perfect ﬁnished letters.
In exposing his works to chance and in highlighting the information registered in the materials through the passage of time he leaves room for the works to continue to evolve. It is useful here to return to thermodynamics, which deﬁnes entropy as the unavailable energy in a closed system, which is also considered a measurement of the systems disorder; or to a general process of degradation of energy and matter trending toward uniformity in the universe.
The moment in which these works are experienced could be considered a point in which the continuum of the viewers life intersects with the continuum of life of the material of the work. This moment of encounter is one in which the information recorded in each object as part of their material degradation, collides with the viewers embodied experience and subjectivity so that one information set expands upon the other. De la Moras reframing of discarded materials presents an awareness of the relative eﬀects of time on humans and objects. By highlighting the entropic transformation in each series, a suggestion of a conception of time as register of information and as a space navigable in inﬁnite directions comes forward.