@camacho__cristina #tracingtheoutofsight at @praxis.newyork. “To know one’s own state is not a simple matter. One cannot look directly at one’s own face with one’s own eyes, for example. One has no choice but to look at ones reflection in the mirror. Through experience, we come to believe that the image is correct, but that is all.” #HarukiMurakami – The Wind-up Bird Chronicle
Since #EmmanuelLévinas, every face-to-face encounter is considered the core of the basic human communication. Before words or deeds, there was the gaze, the relation to the other in order to know oneself. Every face-to-face encounter involves looking at the singularity presented without being too afraid to stare, nor too naïve to transform that singularity into a general concept.
In Tracing the Out of Sight, Camacho extends an invitation to engage in a face-to-face confrontation with each painting. The artist’s obsession with faces comes from their paradoxical nature: on the one hand, they present the most intimate and singular aspect of oneself, however; they are not accessible to the bearer, or one should say, to the face owner. This aporia of the faces is what drives Camacho’s new body of work: the impossibility to access, to gaze, to encounter, to look at the most singular facet of oneself. Almost as if our identity is hidden from us, yet it is so public that anyone can look at it. This double nature of intimacy and publicity of the faces is presented in the show. Every painting has a proper name, and it is signifying not a general concept, but rather a pure and singular factuality: a face is only accessible through reflection.
Along with the faces, Camacho presents a group of works, which she calls skeletons.
#friezeweek #frieze #frieze2017 #galleryopening #chelsea #chelseagalleries #theoverart #thingstodo #thingstosee #thingstodoinnyc #thingstoseeinnyc #nyc #nycart #nyclife