Line on Vazquez

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The photographer Victor Vazquez makes a virtue of his defects. His nudes, for example, are not erotic. Yet as photographs they carry potent ideas. A lady in feathers, for instance, only evokes Santeria. Alas, poor chicken! Vazquez is a Puerto Rican nationalist. But his political views are neatly disciplined by a potent witty formalism. In this show, that formalism is often simply a white line.

Victor Vazquez, Parallel Lines, 2005, lambda impression, polyptych 40" x 60"
Victor Vazquez, Parallel Lines, 2005, lambda impression, polyptych 40″ x 60″


Feather rocks are naturally-occurring pseudo-petroglyphs. One photo records an arrangement of feather rocks. A second photo shows the same rocks with a line of white paint across each. It’s a diptych. Illegals lined against a wall seem ready to be patted down by the cops. But a white line across their backs carries into a second black “canvas” and that single line there becomes a Spanish text considering philosophic aspects of it all, it all. It’s another diptych. A couple sitting across from each other in a Parisian park wear Puerto Rican flags as hoods. The plaza of the Pompidou has pedestrians galore along with two Puerto Rican flags — one with white lines, the other with white arrows.

Victor Vazquez, Body to Body, 2005, lambda impression, diptych, 40" x 80"
Victor Vazquez, Body to Body, 2005, lambda impression, diptych, 40″ x 80″

Lying words fly through the air like terrible arrows and sometimes mean to  kill. The usual art normally hangs on a wall in sullen silence. The photographs of Vazquez whisper back and forth, back and forth harsh words of political discontent.

The show will continue at Seraphin until January 26.

Tags

seraphin gallery, victor vazquez

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