16/09/2023 - 18/11/2023

Zirkstraat 20 
2000 Antwerpen   

Poetic Transgressions: Spatial-Temporal Dislocations in the Work of Jorge Miño

Photography poses a duality between subject and object and subjectivity and objectivity that originates in an encounter with reality. Typically, the referent, or subject, adheres to the photograph, which allows it to create a seemingly objective replication of a specific place and time. As such, the immobility of the photographic image has become equated with death, vulnerability, and mortality. In contrast, the artist Jorge Miño transforms architectural photography, typically used to document a specific place, from a fixed image into a living object, thus returning the subjective experience to image. He does this by transgressing the very nature of photography. He uses his cellphone camera to capture certain architectural elements, and then alters them through various digital processes so that they become unrecognizable. His most recent works isolate, duplicate, overlap, stipple, and dilute architectural elements to produce a nearly abstract formal investigation. The destabilization and decontextualization of the image suspends space and time from its defined linear progression. Juxtaposed flat planes unfold in infinite directions rupturing the previous cohesive composition and revealing a plurality of space and multiplicity of form. Through this spatial-temporal dislocation, Miño transforms the photographic representation from a unified, memento mori into a poetic transgression in order to engender alternate experiences and understandings of reality.

The artist pushes his work beyond parameters of the photograph into the “poetic image,” which, according to Gastón Bachelard, emerges from a state of not-knowing and unfamiliarity by transcending the real.The poetic image lies at the crux of the conscious and unconscious and produces resonances and reverberations on the psyche. Like Miño’s work, it exists outside of linear time and reshapes the way we experience space in the present. In Cuadrado colores, the artist begins with an image of intersecting staircases that he transforms into pure geometric elements through the addition and subtraction of colors. The composition only has resonances of the familiar as it becomes an amalgamation of juxtaposed forms abutting one another on a seemingly flat surface. The planarity of a once three-dimensional form removes any specificity from the original object. Form becomes free from its referent and open to new significations and reverberations within viewer’s mind. As such, he or she is transported into a personal, poetic universe, open to experiential relationships with form and space, yet on the cusp of reality.