Gabriel Orozco’s practice is nomadic and unconfined to any particular medium. Constant in his work, however, is a rigorous conceptual framework and a poetic gaze onto the world. The artist finds inspiration in urban environments and domestic objects wherever he is, making visible — often through photography — the poetry of everyday occurrences.
In Drain (2015), a fleeting moment between void and fecundity is captured with an iPhone, which the artist uses often to seize upon the spontaneous beauty occurring in everyday life. Part all-seeing eye, part dynamic void, Orozco’s Drain continues to question the nature of vision and the pull of material existence, in a image pinned to the circular motifs which have come to dominate the artist’s work for over a decade.
Orozco lives and works between Paris, New York, and Mexico City. His work has been widely collected and exhibited internationally. Most recent solo exhibitions were organized by the Aspen Art Museum (2016) and the Museum of Contemporary Art Tokyo (2015). Orozco received a major mid-career retrospective at the Museum of Modern Art, New York, in 2009. The artist is also the recipient of the 2016 Aspen Award for Art.
Gabriel Orozco is represented by Marian Goodman Gallery.
Dimensions: 16 x 20 in (print); 21 5/8 x 27 7/8 x 1 3/8 in (framed).
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Marian Goodman Gallery, NY
About Gabriel Orozco
Whether working in photography, sculpture, painting, or video, Gabriel Orozco fashions the unexpected out of familiar materials. One of his most well known works Black Kites (1997), a real human skull adorned with a graphite checkerboard pattern (what Orozco has called a “skull-ture”), explores the notion of time, dealing with the subjects of life, death, and existence. Orozco’s typography on paper series entitled “Obit” (2008) is an examination—often a humorous one—of the language used in the New York Times obituaries, distilling an individual’s entire life into a short, idiosyncratic phrase. Orozco’s photographic works include both street photography of surprisingly moving moments as well as staged creations; and the artist’s installations can be reminders of the subtle beauty of typically-ignored objects, such as in his 1993 Home Run, installed at the Museum of Modern Art in New York, where Orozco placed oranges in the windows of adjacent apartment buildings.
Mexican, b. 1962, Jalapa, Mexico, based in New York City, Paris and Mexico