Lisa Iglesias' pencil is a scalpel, her white bed of paper is a surgical table. These writhing bodies, frozen in frame and drowning in infinite space, should haunt you. They are aggressive. They are masculine. They are tightly controlled moments of drama and momentum, hostage to the artist's obsessive hand. The subjects feel conquered, splayed, and lost to a battle. When grouped together, the drawings illustrate a memory of ever distant Americana and evoke a dying mythology as romantic and grotesque as any fairytale or fable.
2011, Protectorate, graphite on paper, 19”x21”
2010, Cotton Eye, graphite on paper, 8"x11”
2010, They Shoot Horses, Don’t They?, graphite on paper, 8"x11”
2010, Horse I, graphite on paper, 9"x12”
2010, Horse II, graphite on paper, 9"x12”
2010, Widowmaker II, graphite on paper, 8"x11”
2010, Widowmaker I, graphite on paper, 8"x11”
2011, Foothold, graphite on paper, 9”x12”
2011, As in the End, graphite on paper, 14”x17”
2011, A Story We Tell Ourselves About Ourselves, graphite on paper, 14”x17”
2011, Mirror, graphite on paper, 14”x17”
2011, Hero, graphite on paper, 14”x17”
2011, Wager, graphite on paper 14”x17”
Artist Statment: In an effort to comprehend the contemporary movements in which we witness and participate as well as the history that has propelled these changes, I explore cultural and nationalistic representations. My projects take the form of graphite drawings, stop-motion animations and paper sculptures. Interested in a reconsideration of accustomed imagery, I divorce my renderings, drawing animations and sculptural works from their original contexts.
Graphite drawings of rodeo horses, stripped of their riders, setting and harnesses, suspended in air, contorted impossibly, resonate somewhere between pain and ecstasy. These objectively drawn but de-contextualized animals hark back to representations of American culture and contradictory histories of the frontier. My drawing animation videos carry out the pointless but memorialized process of transforming video to drawings back to video. In "La Sonnambula,' I distill hundreds of frames from Sydney Pollack's "They Shoot Horses, Don't They?" into graphite drawings which I then edit into a looping video. Highlighting the chaotic disturbances experienced by the characters in this Great Depression era film recalls current economic and political unease.
Rather than working in a linear path, the projects I make are based on constellations of association. Materials and meaning bounce back and forth between projects at staggered modes of tempo. Whether papier-mâché rifle, pencil drawing or hand-made celebration banner, I play with images of familiarity in order to question our readings of such representations. Threads of renewal and futility weave throughout projects that invite viewers to question their navigation of current events and historical legacies.
All rights reserved to Lisa Iglesias