About The Work
This series of twelve silkscreen prints meld images culled from familial and institutional archives with artworks formative to his creative development. By layering up to twenty different images “gesturally,” as he says, Jorge Pardo transmutes personal and cultural signifiers into dazzlingly hued, stratified abstractions of memories.
Pardo, who was processed to the US as a Cuban refugee, mines his and others’ family portraits, which the Cuban regime confiscated and intentionally sent to erroneous addresses years later. These photographs are then abstracted and interwoven with imagery of artworks that have served as cornerstones of influence in his own process. Some of the featured artworks include paintings by Willem de Kooning and works by his contemporaries like Laura Owens. Pardo’s own pieces, including his iconic hanging lamps, are illustrated in these prints, reinforcing the idea that the superimposed images function as a form of self-portraiture.
While recognizable fragments peek through the final prints, the artist locates his interest in the affective mood and emotion produced by the abstraction, rather than specific memorialization. Furthermore, he analogizes the montage and assimilation of the source images to the process of assimilation he underwent as an immigrant to a new land.
About Jorge Pardo
From The Magazine
4 color silkscreen and inkjet on Arches 88 paper
18 x 23 1/2 inches, 45.8 x 59.8 cm
Signed and numbered verso
About The Work
This series of twelve silkscreen prints meld images culled from familial and institutional archives with artworks formative to his creative development. By layering up to twenty different images “gesturally,” as he says, Jorge Pardo transmutes personal and cultural signifiers into dazzlingly hued, stratified abstractions of memories.
Pardo, who was processed to the US as a Cuban refugee, mines his and others’ family portraits, which the Cuban regime confiscated and intentionally sent to erroneous addresses years later. These photographs are then abstracted and interwoven with imagery of artworks that have served as cornerstones of influence in his own process. Some of the featured artworks include paintings by Willem de Kooning and works by his contemporaries like Laura Owens. Pardo’s own pieces, including his iconic hanging lamps, are illustrated in these prints, reinforcing the idea that the superimposed images function as a form of self-portraiture.
While recognizable fragments peek through the final prints, the artist locates his interest in the affective mood and emotion produced by the abstraction, rather than specific memorialization. Furthermore, he analogizes the montage and assimilation of the source images to the process of assimilation he underwent as an immigrant to a new land.
About Jorge Pardo
From The Magazine
Edition 14/15, 2AP
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