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Entre el deseo y la acción - 9040. (Between desire and action). by Lobo Velar de Irigoyen
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Entre el deseo y la acción - 9040. (Between desire and action). by Lobo Velar de Irigoyen
View in a room interior
Entre el deseo y la acción - 9040. (Between desire and action). by Lobo Velar de Irigoyen
  • Type:  Limited Edition
  • Medium:  Photography
  • Style:  Conceptual
  • Subject:  Abstract
  • Year:  2017
  • Edition:  of 20
  • Size:  160.0 x 110.0 x 0.1 cm
  • Ready to hang:  No
  • Frame:  No
  • Signed:  Yes, Front and numbered
  • Materials:  Hahnemühle® Photo Rag UltraSmooth®, 310 gms. (100% Cotton Linters - Archival, acid & lignin free.), impresora Canon ImagePrograf iPF9400
160.0 x 110.0 x 0.1 cm

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Entre el deseo y la acción - 9040. (Between desire and action).

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By

Lobo Velar de Irigoyen

Edition of 20160.0 x 110.0 cm?
Artwork size

Artwork physical size measured as height by width by depth. Artwork purchased with a frame will usually be 5cm (2.5in) longer in each dimension.

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More Works by Lobo Velar de Irigoyen

Incomodo inmortal ( Reproductio of origial artwork).

Collage - 100x70 cm

The time line

Prints - 120x90 cm

En el origen. (At the begining)

Paintings - 93x185 cm

Diving

Prints - 100x70 cm

Lobo Velar de Irigoyen

Lobo Velar de Irigoyen is a mid-career established artist, who was born in Argentina (1978). In 1998 he began his career as a photographer and creator of images. He defined a personal style in a continuous search for aesthetic languages ​​based on experimentation and the intervention of his photos. He distinguished himself in the field of fashion and editorial photography where he continues to collaborate on different projects.
His work as an artist dissolves the distinctions between collage, photography and painting.

"I think of my work as a playful and abstract attempt to explore the intimacy of everyday life in a state of constant discomfort. To pose and question communication problems and conflicts of interpretation. Desire, the traps of memory and the passage of time. I use cutouts from my personal photos I choose to use the pieces that tell less than most of the story I draw and paint with different materials that make up the scene, trying to be flexible with the context Accepting error as a human gesture. Getting out of the habit of gaze endowing the memory with energy and thus engage in a conversation with a dissatisfied present where emptiness becomes content and time becomes a burden rather than freedom, and perhaps in this way redefine the roles in favor of a permanent search that help us to better interact between ourselves and nature, thus finding a form of happiness.”

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