Tener un mundo, 201112

Adrift, 2011

Plasticine on wood

32.3 x 43.7 x 21.7 in

Under pain and every suffering runs a joy of silk thread, 2011

Plasticine on wood

32.3 x 43.7 x 21.7 in

Descent to the maelstrom , 2011

Plasticine on wood

32.3 x 43.7 x 21.7 in

Grave, 2011

Plasticine on wood

32.3 x 43.7 x 21.7 in

Box II, 2011

Plasticine on wood

32.3 x 43.7 x 21.7 in

Hard for us to agree, 2011

Plasticine on wood

32.3 x 43.7 x 21.7 in

Solaris, 2011

Plasticine on wood

32.3 x 43.7 x 21.7 in

Sin is everything that is not necessary, 2011

Plasticine on wood

32.3 x 43.7 x 21.7 in

To have a world II, 2011—2012

Plasticine on wood

43.9 x 32.5 x 21.7 in

Box III, 2011

Plasticine on wood

32.3 x 43.7 x 21.7 in

To have a world I, 2011—2012

Plasticine on wood

58.5 x 38.6 x 23.4 in

[...] I believe that apart from the artistic image, humanity has not invented anything selflessly. And perhaps that is why the true meaning of human existence lies in the creation of works of art, in the artistic act, since it has no ultimate goal and is disinterested. Perhaps it is precisely in this that we demonstrate that we were created in the image and likeness of God. We are subverting the still lifes of poverty and abundance that we sent you some time ago, populating them with small ghosts inspired by Max Ernst's graphic novel The Hundred Headed Woman, which, in turn, was made with collages of woodcuts from infinite sources. Also experimenting with a painting-on-painting scene of a solitary and psychological image of a woman lying on a bed confronting herself, and on her back, a literal and real tunnel of fifty centimeters in depth opens up—a reference to the mental spaceship from Tarkovsky’s film Solaris.
—Mondongo, 2013