Mayte Alonso | Escultora

PUBLIC WORKS
Horizon Geometry

Sorry, this entry is only available in Español.
Sounding Architecture

The final aim of this work of art is to involve the spectator and make him participate with his own implication in the sculpture. The overall view resembles an orchestra where the spectator acts as the conductor of audiovisual art, according to his own personality and behaviour when he is observing the sculpture. The method used to shoot the sound is an out of view video camera, to avoid any undesirable interference with the sculpture, such as cables, microphones or the use of laser and mouse clicking. The camera reads and analyses any movement in the space provided, sending the information to a computer containing the sound. The processed sound is sent back to the chapel through amplifiers, creating an interactive chain between the spectator, the experience of viewing the work of art and the music. Sound forms part of the space and this is built by a combination of visual and sound perceptions produced as the spectator walks through the room, making each visit unique. We are trying to demonstrate how significant is our behaviour and how all our actions influence our setting. Human emotion takes control and generates a new awareness of our living scene.
Caligraphy in the Space at Barjola Museum

Let’s figure the reality like a huge loom where the yarn is made of light. Tangible things are weaved in this loom and the air between them is an ocean of lines to be drawn. Caligrafías del Espacio searches for some of the possible encounters in this imaginary space. Synecdoche, analogy, metaphor, among others build the literary universe. The figures for this Caligrafias del Espacio are: Tropisms, Weaves, Clusters,…
Caligraphy in the Space

Let’s figure the reality like a huge loom where the yarn is made of light. Tangible things are weaved on this loom and the air between them is an ocean of lines to be drawn. Caligrafías del Espacio searches for some of the possible encounters in this imaginary space. The idea is to draw the spectator in and to make him share the artist’s vision of the place. The artist also works with the particular context given to the sculpture by a singular architecture. A certain space becomes a unique place defined by a shared experience of contemplation. The spectator participates with his complicit gaze in a subjective version of that space.

If the synecdoche, analogy, metaphor, among others build the literary universe, the figures for this Caligrafías del Espacio are: Tropisms, Weavings, Clusters,…
Absent Landscapes

Paisajes Ausentes are an intimate appropriation of nature taken as an object. They represent artificial nature as a metaphor of reality. These sculptures build an intimate architecture, a shelter for inner thoughts. The shadow projection of the tree branches spills over the architectural frame of the work and sweeps us away to an evocative image of a landscape. The landscape referred to in the title is no longer a panoramic and picturesque view of nature; it is an invitation to go beyond the threshold of tangible reality.
Latent Architecture

Fragments of disjointed structures serve as a model to create new and possible buildings.

Transparent walls, let us see the intimate life of the property, where the gallery is located. Both elements together create a new version of a well-known exhibition room. When we wander around this new space, we create our own place built with the feelings aroused in the perception of simultaneous views that subvert the interior-exterior relationship.
Memory sceneries

Sculptural installations composed by a metallic structure and a projection. One of the photographs inspiring each piece is projected over itself, which interferes with the shade of the structure, acting both elements as a whole. The image wraps the spectator who plays with his own shadow in the imaginary space created, drawing him into the work itself. These places are ephemeral and timeless and arouses in us resonance of already lived experiences. The spectator’s memory links partial images referred to widely known archetypes. A series of visual remembrances take place, making us participants of foreign places and cultures, that already form part of our own cultural heritage. The architectural language as a reflection of human needs, not only of livability but regarding also aesthetics and metaphysics concerns. The image used as raw matter. Text from the cataloge of "Memory sceneries" exhibition
Gathering Places

There are some places, Lugares de Encuentro, I would call them, just for the pleasure of knowing things by their names. In those places a simple glance loses its evanescence and becomes a whole experience. Is this experience so intense that we are afraid of going back to that same place and discover just an empty space. If by chance we cannot go back, deep down, we are even secretly grateful for keeping those places as part of a recurrent dream.

In other occasions we overcome the fear and return with pleasure to the same place. It is in that same moment when the initial feeling is enhanced by a variety of new sensations and a sense of belonging overwhelms us. Any action occurring under this subjective reality is not random any more. It, instantly, creates a microcosm of images that only have a meaning in that certain time and site.

Then we know that the Place is real and that we own it.
The Archaeology of Things

Inspired by ruins as a metaphor of the Passage of Time. The work is composed of fragments of a whole sculpture, which we can only fully understand by the photogram of its shadow: its memory. The artwork is conceived in this series as a finished object shown along with the record of its process of evolution like an historical document. Just as Man carries his historical and cultural baggage on his shoulders throughout his whole life.
The Reflected Object

The artwork is presented in two parts: object and image. A metallic structure is shown along with the photogram of its shadow. This photographic negative represents the state of the sculpture at a certain instant before as a deferred version of itself. The process for taking the photogram is the same that Man Rays used in his earliest rayograms. The sculpture is laid directly on to photo-sensitive paper and then exposed to light, with no further conscious manipulation. The contemplation of the work includes the three-dimensional perception of the sculpture along with the ambivalent sight of its imprinted shadow. The contrast of theses two elements requires thus a second look, searching for the clue to a puzzle. It is through this second look where the author establishes a dialogue between present time and recollection of the past. These works hold an equilibrium between past and present, which I believe is vital for the contemplation of Contemporary Art.

Text from the cataloge of "The Reflected Object" exhibition
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- Objeto Habitado
- Babel
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- Tragaluz
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- Rincon de Lectura