Jorge Orozco Gonzalez
My work as an artist comes from a sincere interest in trying to communicate to the viewer a sense of what my experience has been. Primarily in regards to how I have navigated and interpreted it. Almost all of my work is categorically about me, whether directly or obliquely. I try to use my personal subject matter as a tactic for interrogating a larger subject which entails the way cultural, political and ideological structures serve to define us as people. My art is orientated towards “identity” only insomuch that it facilitates the agency of the viewer to identify with something or not to. I am particularly concerned in the ways that the discrete work of art is affected, and possibility transformed or legitimized, by the language it is encoded and couched in, the context through which it is deployed as well as the contingent significance of any attached personal narrative. The leitmotif of my work is an interest in addressing the specific cultural and political, in the sense of our shared lives together as people, implications of portraiture through drawing. The portraits specifically are a step towards understanding how our conception of ourselves as individuals is the byproduct of the structuring of society and the tokens of cultural capital that we consume. I am interested in how we telegraph our difference by identifying ourselves with the cultural production of others, that is to say how our taste in the end just serves to buttress our sameness or articulate our profound inability to truly connect with one another. My artwork has both addressed these issues implicitly and explicitly as well as in terms of me as the artist and you as a viewer. In this way my work through your consideration of it enacts the trajectory from identifying to identity, an unpacking of cultural/symbolic capital, and the embrace of hybridity not as an artistic strategy but the only option for being. The aim of my artistic practice is to make things whose form and content are treated symmetrically. In so far that each of these rubrics is understood as being coincident in creating something that is in equal measure, aesthetically pleasing and critically engaging. I want my work to be accessible to any viewer on some level. For me art is primarily, and at its most hopeful, an act of communication; a call that either patiently waits or exigently demands a response. I am of the conviction that art-making should always fundamentally be predicated on an interest in its projected discursive potential. This potentiality allows a truly successful work of art to generate a meaningful discourse. This meaningfulness is a consequence of its ability to extend outside of its self, and the parameters of art itself, into the world at large. In so far that arts true power exists in its status as a discursive act and conversely its hamartia is that for the most part that discourse is a purely academic one. And in this way is something that lacks any agency within everyday life. I hope to be able to make work that can serve as a form of redress for this inherent lack through its ability to function outside of the conventionally hermetic and insular environments in which art exists.
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