PAULA CLEMENTE VEGA PORTFOLIO
Cl e m e n
PAULA CLEMENTE VEGA Born in Canary Islands, 1987 Based in London E DUCATION 2006-2011 (BFA) Bachelor in Fine Arts, Complutense University, Madrid, Spain *Specialization in Painting 2009-2011 Erasmus scholarship in Arts, Accademia di Belle Arti, Venice, Italy 2012 Leonardo Da Vinci scholarship, Photography Assistant Ian Teh, London, UK GROUP EXHIBITIONS 2013 “Commonplaces” The Hackney Cut, London, UK * 2013 “To be Conceived” The Old Police Station, London, UK 2012 “Art in park” Manor Park, London, UK 2012 Auditorium of Albino, Bergamo, Italy 2011 “Out of Place” Hall of the Faculty of Fine Arts, UCM, Madrid, Spain 2010 Contemporary Artistic Techniques, Accademia di Belle Arti, Venice, Italy 2003 Students of the Art Academy “Reginart Yard”, Tenerife, Spain 2002 Students of the Art Academy “Reginart Yard”, Tenerife, Spain *Organised&Curated http://commonplaces.jimdo.com/home/ Colaborations Deepsleep Magazine http://deepsleep.org.uk//editorial_issue8.php Lectures 2012 “Femininity as a Masquerade” within the talks about The Tyranny of Appearance in the Society of the Image. Cultural Center La Casa. Tenerife, Spain
Practicing the art is to practice the childhood experience, discover worlds, redirect them, weave networks to connect them so. Therefore, I propose through the artistic practice to push me out into the chasm, the space that is formed between two or more notions of objects or ideas, and apprehend it as starting point towards the formulation of new concepts, my poetics of everyday life. â€‹ In this manner, taking as starting point the privilege transformer of the human act, the one that I use in my artistic work; I seek the way of formulating a new language, where my notions of the environment involve, my mental map of that which surrounds me, the filter of my eyes.â€‹ Everybody has something to say and that to say is formulated within ourselves, with my way of apprehending the world through my own mind and move it to my reality; where I appropriate the everyday life, the one that will be transformed as an ingredient more, in the taste of the world that we create every day. â€‹ This is how art is pronounced as a simple intermediary between the person who conjures it up in his artistic practise and his environment. The chasm, what visibly goes unnoticed but under our mark, our presence, could be altered. It is our reality that is spread, that has the capacity to transform everything around us. UK M +44 (0) Spain M +34
c l e m e nt e v e g a 8 7 @ g m a i l . c o m http://www.paulaclemente.com/
EPHEMERAL TIME- MADRID UNDERGROUND 3 series 2011
Oil on table > 30x40 cm
< Oil on table 38 x 46 cm
Oil on table. > 20 x 41 cm
MENTAL MAPS < Oil on canvas 50x122 cm 2011
C ON V E RG E NC E S 2011
Making up a series of hybrid images, I look through their composition the alteration of the urban landscape within the underground context, with the natural landscape of diverse photographs taken in other places. In this way, using the â€œgameâ€? of decomposition through the decontextualized trace of the transferred image, I find the transformation of spaces into places. Redirecting the categorical sense of classifications, a kind of game, where the transformative intention is giving free rein to the imagination and the ability of changing the categorical concepts about places and no places.
Practicing the space to alter it, subjetivizing to transform it.
< Electrography transferred on paper, acrylic and collage, 24x40 cm
< Electrography transferred on paper and acrylic and collage, 30x40 cm
^ Electrography transferred on paper and acrylic and collage, 21x29 cm
^ Electrography transferred on wood, acrylic and collage, 20x41 cm
^ Electrography transfered on canvas and acrylic, 25x60 cm
Electrography transferred on canvas and acrylic, 40x50 cm
Electrography transferred on canvas and acrylic, 40x45
< Electrography transferred on T-shirt >
EPHEMERAL TIME-london 141 2012
Electrography transferred on Fabric and oil, 52x91 cm
^ Electrography transferred on paper, 21x29.7 cm
^ Electrography transferred on paper, 21x29.7 cm
W I T HOU T C L O SI NG PA R E N T H E SI S
The objects which make our life up in parentheses are impregnated by our daily taste, It is produced an exchange between ourselves and the object. In this manner, the object suffers an alteration and at the same time is a mirror of ourselves. In this alteration through the appropriation, the life arises, that life as a trace of the space practice; nature is life, needs care, gives it water to grow and doesn’t die. The same happens with the projection of our own ego in our personal space. The relationship that we create with our environment and our stuffs are like plants, if you don’t give water to them, probably they will die. Wherever there is life, wherever we leave marks, we put roots, we leave our traces.
PARTIDA 2009 Paula Clemente Vega/Esther Gat贸n.
Definition: 1. The act or an instance of departing 2. A deviation or variation from previous custom; divergence 3. A project, course of action, venture, etc. 4. (Transport / Nautical Terms) Nautical a. The net distance travelled due east or west by a vessel b. Also called point of departure the latitude and longitude of the point from which a vessel calculates dead reckoning
Statement 1 Blobs and blobs of meat. Meat that sprouts and drips. Foaming and torn veal. Shooting pieces of bovine death lets me notice the anecdotes of becoming rusty ------------------------------Statement 2 The departure is both a farewell and a meeting, although often it usually means a form of divergence. It will seem strange, maybe uncomfortable. Iâ€™m still wonderingâ€Ś Perhaps between yes and no. How many interpretations are there?
SIMULATIONS 2012 “When the real is no longer what it used to be, nostalgia assumes its full meaning. There is a proliferation of myths of origin and signs of reality; of second- hand truth, objectivity and authenticity. There is an escalation of the true, of the lived experience; a resurrection of the figurative where the object and substance have disappeared. And there is a panic-stricken production of the real and the referential, above and parallel to the panic of material production: this is how simulation appears in the phase that concerns us- a strategy of the real, neo-real and hypperral whose universal double is a strategy of deterrence.” Jean Baudrillard