"Borderless"

"Borderless" is the title of my current work with elements related to immigration. It is about the closed borders, people with no visa, refugees & bureaucracy. Nevertheless, borders are not just physical, but also psychological, social and cultural.

This is the theme of my current work, where it is included in imaginary maps. These maps have conceived to be anthropomorphic, with parts of the human body such as fingerprints, "bar codes" that assume symbolic connotations

The Etching technique combined with different materials.

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"The capsules of oblivion"

"Las capsulas de la amnesia" (The capsules of oblivion) How to contain sensations, how to contain Time, moments, realities? These are the key questions I ask myself developping the idea of "Las capsulas de la Amnesia" (the capsules of oblivion), in which painful memories are kept, episodes that many people pretend to have forgotten. It is also about the time-space relationship. Time and space in itself are categories closely linked with culture. For example, the Andean culture perceives the space-time category as a whole, the one could not exist without the other. In the capsules I made, memories have found their place.

With the idea of “las capsulas de la amnesia”, I want to show different moments, which occur in our society, from a political, social or ethical point of view. The capsules are the holders for containing those moments, those realities that exist around us. Daily events that happen or have happened, and still persist in our individual or collective memory. Every person perceives reality from different angles, depending of his own origins.

There are political situations that keep repeating, they come back from the past like ghosts. The human barbary has deep roots which it is difficult to get rid of. These are the facts that I would like to show in my work.

For instance: ''Everything changes but nothing changes", the death penalty for gay people in Iran and in the Muslim world is an example of this.

Archive of forgotten memory, where the memory is stored in illegal form, documents of missed people (“los desaparecidos”).

The loss of memory and the lack of surprise in modern society is something I do not understand. We have reached an extreme point of indifference.

About the used technique:
The basic material is clay, in combination with porcelain, woods & piece of metals like nails, etc.
I made research of "sinter engobe", that I use mostly in creating my object and sculptures. I collect old wooden boards & panels to make a structured archive to be used in creating the atmosphere that support of concept.

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"Desaparecidos"

I feel the strong need to tell you what happened in my family , in my neighborhood , my city , my country - Argentina - during my childhood.

It was seven years of fear and uncertainty, everything was ruled by terror, everything seemed gray. People disappeared or rather allowed them disappear - so waited for my aunt Chicha half life of her son Michael who disappeared when he was only 20 years old, but Michael never came back, he "disappeared " because he thought otherwise, or was whether another world had in mind. A phrase that forever etched in my memory is : NO TE METAS ........... ( do not interfere with it " )

This sentence is the fear again, the looking away, the willingness to go to a dark reality that it was impossible to escape. Beyond Black ravens called overnight the houses where people slept and took note those who thought differently about things, resulting in thousands of broken families.

The missing people were thrown from the sky into the sea, the sea swallowed them up, because the Ravens thought they had to disappear and so were the mothers spent years looking for their missing children. Then they tried to find their grandchildren who were robbed back and had grown up in the families of soldiers ...

It was March 24 and I was 17 years old when I went to look at the Plaza San Martin in my city where thousands of photographs and portraits hung on the branches of trees, spread out across the square ... And for the first time on the square were hundreds of protesters with candles in hand, so the pictures, the square and the people were enlightened. in a special way They demanded the whereabouts of their family, their children and grandchildren to come .... the residence Put these 30,000 missing Argentines.

To know my work as an artist is clearly socially committed in this case. I want to use , for example by giving , as the Ravens and pigs that the military or the accomplice citizens portraying etc. some animals anthropomorphic pull attest to this reality by certain symbols on my way.

Another concept that I use is that of confrontation. The members of a divided society come face to face with each other; by brute force is used , the society becomes further split. I try the different sectors of society, which is steeped in pain and sorrow , display: the mothers and grandmothers of the Plaza de Mayo (in the Netherlands known as ' the Mothers ' ), students , workers, people who rebel come, etc.
On the basis of drawings and sketches I'm looking at the shape and concept; these sketches go to the bas - reliefs and the images of ceramic and porcelain advance. I try to untangle the knot that way and find out how I can best display. Fears, experiences and memories of that time out.

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"Head baby-pain"

It is the pain that is trapped in their souls and their bodies. Their cries will not be heard because the rough mouth is closed forever silenced.

The pain comes to the surface due to things that have stuck with me from my childhood: heads of babies with patches on the mouth, teeth, bird cages, dead birds, mousetraps, nails, and so on.

The language of the memory of my childhood and the language of everyday things that a symbolic and dramatic charge have to define my work: Head baby pain.

The method boils down to the use of porcelain with celadon glaze (a traditional Chinese glaze) for the heads, and various combined materials for the body.

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"Trans•mi•grate"

Definition of Transmigrate:

1.to move or pass from one place to another.

2.to migrate from one country to another in order to settle there.

3.(of the soul) to be reborn after death in another body.

With this work I made an ironic speculation about our decadent society. I used different symbolic elements and imagery that are part of our society. I played with different social classes, such as workers, kings, soldiers, priests, coaches, etc.. All these symbolic elements move in one direction, forward. Trans-mi-grate representing chaos of our society in constant motion and with an apparent change.

For making this project I worked with ceramics and I combined it with other materials, that most of the time I found on the street. I decided to recreate a scale model. The idea is to show the work as an installation in small scale. I showed this work in Art Fair Amsterdam in Trouw. 2011.

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Syncretism, "The Mantles"

Syncretism is the blending of two different religions or cultures that make up a new religion, or cultural form.
In February 2011 I went on a trip to my native land Argentina, I visited the cemetery of my hometown and I saw in churches and other holy places images of non conventional holy figures. I am fascinated by how the catholic religion got mixed with the precolombian culture in Latin America. There are many examples of it: “Gauchito Gil” and “La Difunta Correa” in Argentina, “San La Muerte” in Mexico, “Día de las Ñatitas” in Bolivia, etc.
My grandmother used to have a small altar with religious images, images of virgins and photos of her deceased mother and other family members, for which she prayed every night. My fascination for religious imagery started from there.

As far as Mantles are concerned, I got inspiration from a small statue of the Virgin Mary that my mother has owned since she was fifteen. I developed the symbol of the mantles from my own syncretic prospective and I decided to give a further meaning to them.
"The Mantles" are the representation of the spiritual emptiness and the disappearance of religion in current society - perhaps the result of consumerism. They represent the difference between the country where I come from and the one where I now live. I am myslef also a result of syncretism, I am the fusion between these two cultures.

By developing the concept, I researched about the use of sinter engobe and I applied it on ceramics. I have tried to recreate the coat that the advancing time develops on ancient surfaces and the memory that such objects carry. The final work is a combination of ceramics and other recycled materials.

Pablo Ponce

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"Still life"

I have the fascination for all kind of old objects, specially with memory related ones!
I used always to collect these whenever I find them on the street.
Then I make a kind of formal association through combining these with another kind of objects made of clay or porcelain as part of my visual art. I make a composition and playing with light and shadow I create the atmosphere to be shot as a theme for "still life".

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Brochure "Salah-ad-Din" Exhibition: