Gabriel Orozco By Jemini Patel

GABRIEL OROZCO Jemini Patel

ORDINARY TO EXTRAORDINARY

MY HANDS ARE MY HEART 1991



“When I did ‘Black Kites,’ I was interested in how we perceive volume, how we perceive tri-dimensionality. I am interested in the pattern in the grid and how we perceive truth, always through filters of light, darkness, or many other things. It’s not a pure vision; it’s always there in layers—cultural and physical layers. I was just trying to impose a homogeneous pattern on a very complex tridimensional object—a human cranium.” — Gabriel Orozco

BLACK KITES 1997

DOUBLE TAIL 2003

CATS AND WATERMELONS 1992 

“Beauty? I don’t use the word beauty anymore. Never. It’s not that the thing itself is beautiful. It’s the relationship that you establish that makes something beautiful. And so the word ‘beautiful’ is not an absolute It’s a moment, I would say. It’s more like a moment in which you look at something and you feel alive, you feel that you are enjoying something. And that is a moment of poetry, pleasure, revelation, thinking.”

BALL ON WATER 1994

STANDING BICYCLE 2 “A photograph might or might not become a 002 work of art. In a way, it’s irrelevant

because I think photography is a necessity for documentation…for memory. First it’s a necessity. Then, some of these photographs might generate enough thinking and contemplation to be exposed for consideration.” –Gabriel Orozco

PARACHUTE IN ICELAND 1996

“I’m always drawing for projects, and Making 1996 writing. diagrams and measuring things. But also I like to draw as another way of thinking. And sometimes I think my drawings are like puddles. They’re like water puddles. You have all this paper and then you start to drop things in. And they are like a platform for accidents to happen.” —Gabriel Orozco 

LIGHT THROUGH LEAVES







“I try always to be intimate with the world…with everything I can, to feel love for it, or interest in it.” "To be intimate you have to open yourself, to be fearless, to trust what is around you, animate and inanimate. Then you start to change the scale of things, of the public and private.” “I don’t think it has to do with the size or the scale of the work. It has to do with a deep reason why you are doing that work. It can be a small piece or a big piece and meaningless…just as empty of real content as a huge public sculpture or a small drawing can be totally empty.”