THE CONQUEST

O FF SPACE

Born in July, Fausto Amundarain (Caracas, 1992) knows that every experience lived in person involves marking territory at a hectic pace that requires depth and needs pauses. In that sense, creative processes lead to places that, in some way, one has foreseen. Round trip paths in which you have to be attentive and know how to accompany each other so that many of the things that one is aligned. Build scenarios for things to happen, strengthening the language itself and without stopping exploring the possibilities that the tools themselves allow.

Undoubtedly, Roaring Days comes at an ideal time for all of this. Days in which Fausto Amundarain allows himself to put together a concise and resounding exhibition of what he has been accumulating in recent years in cities like Caracas, Madrid, Palma and Miami. It is no longer just a work that expands and flirts with other mediums, but devices that are likely to generate conflicts wherever they are located, housing personal experiences and referential information that is more refined than ever. Why do we take the conquered common territory for granted? These and other issues run parallel to a necessary conciliation of the artist with himself regarding certain internal and external demands. Cuts and scraps. Living processes that are translated behind windows in which miniatures that pointed out ways have grown and liberated, co-starring in the space alongside newly discovered backgrounds. Fragments that are emancipated, redrawing themselves under other aspects. Silhouettes and spots that play to be recognized. Vectorial organization.

All this from these four walls. Then there is the floor, that other place on which an uncertain and mobile wooden structure rests, and where other remnants are rearranged around it. An artefact designed and built by the artist himself in which container and content interpellate harmoniously. A device to discover other ways of exhibiting and approaching. A surface that entails a double movement: its own when touched and/or pushed, and that of the spectator when moving around it. And that double action turns Wadström Tönnheim's space into a surrounding setting and into a stage that also deserves to be imagined from above. A lively and disconcerting exhibitor that wants to be activated. Probably, the territory that most represents Fausto Amundarain.

So, the lion keeps on roaring tonight (Wimoweh)!

Jordi Pallarès, 2022