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MIGUEL CORDERA

MEXICO

Miguel Cordera (Mexico, 1971)

Miguel Cordera has a degree in Graphic Design from the Iberoamerican University. He maintains an investigation around current painting through his personal work and other exhibition projects. In a constant back and forth between the stain and the planes, he makes a contrast between the random gestural with the structure, which arises from the play of lines, geometric shapes, and transparencies. He takes advantage of the encounter between materials and waste, shaping pieces that achieve a balance point between saturation and emptiness. Cordera's work lives within a very specific language that is difficult to sustain in painting: abstraction. His practice process confronts us and he confronts himself with an almost labyrinthine space of searches and resistance that overflows with possibility, with risk. Explosive compositions of lines and color that seem not to seek resolution, translate into apparently lyrical moments suggesting the connectivity of the body to matter. Beyond this, the investigation of the work has to do with the mental agitation that vibrates in the vertigo of the tangible encounter, trying to resolve itself from a purely pictorial language. There is a struggle to control movement and color, but at the same time to let the painting control this agitation or rhythm in consciousness. The decisions in situ or the detachment of them in the pictorial representation, are transformed into a register of corporal and mental action, momentarily abandoning the imposition of abstraction to try to free, fragment, or detonate dissonant moments of subjectivity. Cordera faces, squarely, the plastic danger. "

MIGUEL CORDERA

MEXICO

Miguel Cordera (Mexico, 1971)

Miguel Cordera has a degree in Graphic Design from the Iberoamerican University. He maintains an investigation around current painting through his personal work and other exhibition projects. In a constant back and forth between the stain and the planes, he makes a contrast between the random gestural with the structure, which arises from the play of lines, geometric shapes, and transparencies. He takes advantage of the encounter between materials and waste, shaping pieces that achieve a balance point between saturation and emptiness. Cordera's work lives within a very specific language that is difficult to sustain in painting: abstraction. His practice process confronts us and he confronts himself with an almost labyrinthine space of searches and resistance that overflows with possibility, with risk. Explosive compositions of lines and color that seem not to seek resolution, translate into apparently lyrical moments suggesting the connectivity of the body to matter. Beyond this, the investigation of the work has to do with the mental agitation that vibrates in the vertigo of the tangible encounter, trying to resolve itself from a purely pictorial language. There is a struggle to control movement and color, but at the same time to let the painting control this agitation or rhythm in consciousness. The decisions in situ or the detachment of them in the pictorial representation, are transformed into a register of corporal and mental action, momentarily abandoning the imposition of abstraction to try to free, fragment, or detonate dissonant moments of subjectivity. Cordera faces, squarely, the plastic danger. "

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