Perejaume. Dos

Source Credit:  Content and images from Wall Street International Magazine by Wall Street International.  Read the original article - https://wsimag.com/art/68087-perejaume-dos

Only two, two works, because works are no longer indifferent to quantity. Not anymore. Two,
then, as name and number at the same time, as if the number of works were, in the space where they’re exhibitied, the name to call them.

In another order of things, the relationship between invention and mimesis, between repetition and validity, is also dual. The resemblance appears. Pause. The resemblance disappears.
Pause. It appears again. In fact, the whole of nature does not act otherwise.
In botany, the sprouting of resemblance is constant. There are no radically inventive plants,
nor are there absolutely mimetic ones. It is so.

Of the two exhibited works, the first one titled Wood gilded in stone / stone gilded in wood,
presents two figurations that share the metaphorical capacity and the mimetic capacity of their
respective substances. It is a work created within the framework of a recent intervention in the
Baroque rooms of the Museo Episcopal de Solsona and it is still touched by Baroque transmateriality.

The second work, Palm tree with cork oak bark, insists on the presence of a body in another
body, on the possibility of inhabiting another body’s material and on probable contagions and
incarnations, in this case between the trunk of a tree, a bark that doesn’t correspond to it, and
the surface of the sea. Beyond the proximity, the relationship established by the sea waves with
the cork bark is reinforced by this revealing kinship, in Catalan, between “suro” (cork and oak
cork tree indistinctly) and “surar” (floating). Skin and sea.
The resemblance reappears. It reappears.

(Perejaume, November, 2021)

Source Credit:  Content and images from Wall Street International Magazine by Wall Street International.  Read the original article - https://wsimag.com/art/68087-perejaume-dos