SUJETO OMITIDO

SUJETO OMITIDO

Sujeto Omitido (Omitted Subject) presents a selection of works that signalled Yoan Capote’s entry into the international artistic ‘establishment’: various paintings from the series Island and a group of sculptures which have marked out the development of the artist, and which are principally inspired by objects, images and body parts that aim to evoke the presence of the individual in contrast with absence or the anonymous condition. “Our body is full of symbols and expressions, the representation of which has shaped a large part of the history of art from its very beginnings (…) I feel that there are ideas or experiences that can better be expressed through the representation of the body or through the body itself,” explains Yoan Capote. He continues: “I am greatly attracted by everything to do with psychology and by the way in which it permits us to reflect not only on internal individual conflicts but also on the social or collective environment… This allows me to broaden my analysis, taking it from a local scale to one that is more essential or universal.” Each of the works shown focuses mainly on reflections regarding conflicts and shared issues in which the identity of the subject is not important or comes second to more global and collective considerations. Migration, resistance, manipulation, stress and alienation are all common experiences for humans today, independently of differences in context. Sculptures like those entitled Stress, Self-portrait, Speechless, Abstinencia evokes a sense of anonymity, where collective experience determines or expands the individual concerns. Its physicality reinforce a symbolic use of materials, gravity and interaction with the viewer, something that it is even appreciated in his series of fish hooks paintings. “The sea is an obsession for any island population… when I was a child, I would look at the horizon and imagine the world beyond it,” recounts Capote. “For Cubans, the sea represents the seductive side of these dreams, but also danger and isolation.” The paintings from the series Island are born out of reflecting on an expression used during the Cold War to indicate the separation, both territorial and ideological, between the countries of Eastern and Western Europe – the ‘iron curtain’: For further information about the exhibition and for photographs: Silvia Pichini communications director [email protected], mob. +39 347 45 36 136 “those borders, often thick with barbed wire and walls, made me think of the way in which the sea played the role of wall for the Cubans,” states the artist. Large-scale creations using fish hooks and oil on canvas, Yoan Capote’s seascapes are conceived as a progressive installation: a continuous sequence of one same horizon, in which each painting is a fragment which captures a different moment in terms of light or darkness. “I wanted to use thousands of hooks to create a surface which gradually became tangible as the spectators got closer; I wanted to recreate the tactile experience of standing in front of a metal fence. The fish hook is an ancient tool whose design has remained unchanged over the centuries; it can be a symbol of seduction but also one of entrapment. The process of creating these works is very interesting because for me, painting and the movement of the brushstrokes embodies the sense of the artist’s individual freedom, and this is completely cut off by the areas with the fish hooks (…) which limit the areas of colour just as political conflict limits subjective freedom,” Capote concludes.

SUJETO OMITIDO