Exhibition Curated and Organized By: Alex Wong and Wieslaw Zaremba
“Cosmic Spirit”, an Interpretation of Peruvian-Inca Cosmic Iconography - A Drawing Exhibition by Peruvian Artist, Ernesto Pujazon.
This proposal explores the current development of a body of work by Peruvian artist, Ernesto Pujazon. It redefine the parameters of an aesthetic approach in identifying the artist’s relation to influences on his art while living and working in the South East Asia region.
The artist main aim is to explore the creative and thought process of these art works in relation to specific living environment and space. As Latin American artist; He explore mainly mythology characters in each of his works.
The Incas cosmology or religion was easily capable of incorporating the religious features of most subjugated regions. The setting for beliefs, idols and oracles, more or less throughout the entire empire, had been preordained over the previous two thousand years: a general recognition of certain creator deities and a whole pantheon of nature-related spirits, minor deities and demons. The customary form of worship varied a little according to the locality, but everywhere they went the Incas (and later the Spanish) found the creator god among other animistic spirits and concepts of power related to lightning, thunder and rainbows. The Incas merely superimposed their variety of mystical, yet inherently practical, elements onto those that they came across.
As for the development of Ernesto's work; He is preoccupied with the notion of harmony and beauty; where pictorial balance in the physical or visual form, play important role.
Ernesto is looking forward to have a candid and exploratory journey from the viewer, through his visual elements like shapes, forms and monotone hue appreciating each work as a whole.
This emphasizes the notion of coherence aesthetic, where the elements in the drawing share hidden meaning with the viewer. This is also developed into several levels or layers; which is portray into each of these series of drawing. These hierarchical arrangements of parts exude through the visual. Some drawings have a mystical connection and experience, entering into a silent internal dialogue with the object, form/shape and material; searching for its special qualities; where seeing… is as if nothing else existed at the moment.
This pictorial language is universal, and it will respond to different social, historical, psychological environment and context.
His pictorial-visual language is one which operates on a level which can only be partially described and never constrained by spoken or written words, but is nevertheless a form of communication which can touch us all very deeply and is universal in this respect. A visual language is more that a “figure of speech”, in that respects its deviation from the recognizable rules of a conventional language system actually enhances its capacity to cross the cultural boundaries between one to another visual language. It is universality that gives a pictorial-visual language its undeniable and fundamental influences over our emotional awareness.