With “Bailouts, Surrender Flags, Models and Muses,” Pedro Vélez is interested in mining the romantic ideal of the artist’s muse by delving into more personal and intimate subject matter. The artist has revisited past photographic work as well as personal relationships to create cease-fire metaphors from both positive and negative perspectives.
A. Optimistic: Parties agree to focus on common ground, setting aside differences in order to amicably move forward for mutual benefit
B. Pessimistic: Parties agree to disagree, conceding that the situation is unsalvageable/insurmountable and moving on to prevent further loss
Vélez new work, specific to this proposal, will examine the forces that shape everyday life, from the complex interactions that determine news headlines, politics, and economics to the personal dynamics of relationships and break-ups.
Certain questions will pivot the installation. What constitutes as a muse in personal iconography? Why do artists continuously return to certain personas, places, and events as sources of inspiration? And, what role do viewers play in assembling certain narratives, for instance when there is no personal connection between the artist and the muse?
These ongoing queries and anxieties inform Vélez’ new abstract flower paintings, sculptural paintings resembling surrender flags, photo collages, and assemblages that function as a fractured narrative in which the dynamics of personal relationships and those of the broader socio-economic environment are juxtaposed and blurred.
101/EXHIBIT chooses a solo presentation by Pedro Vélez based upon his strength of character as a time-tested artist and critic as a symbolic gesture to (re)introduce the audience of the art fair model to the nuances of the practicing artist. It reflects our desire to produce a booth that projects a personal curatorial perspective within an organizational structure reflective of today’s broader contemporary art context.