Isabel Judez Spanish / Venezuelan, 1992
Exposiciones
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Solo exhibition d'Isabel Judez at Le Hublot gallery in February 2023.
Sculpture printed in PLA, resin, and steel.
Dimensions : Ø 54 x 25 cm.
Original work from of Isabel Judez in 2022.
Sound piece of 5:13 minutes, initiated and conducted by Judez in collaboration with the sound artist
Iga Vandenhove and sound ingeneer Antonin Bexon in 2023.
For her solo exhibition at Le Hublot Gallery, Isabel Judez invited the two artist to create a sound dimention of the original sculpture.
The accompanying sound piece, made entirely from real-life sounds and field recordings, recreates a fictional reality, inviting the viewer to experience these drifts sensorially, following the path of water from downstream to the sea and its passage through extractivist machines.
Together, the sculpture and sound piece question the dichotomy between nature and culture, human and animal, engendered by the binarity of our contemporary technological systems.
"You ask me to plow the ground. Shall I take a knife and tear my mother's bosom? Then when I die she will not take me to her bosom to rest.
You ask me to dig for stones! Shall I dig under her skin for bones? Then when I die I cannot enter her body to be born again.
You ask me to cut grass and make hay and sell it and be rich like white men, but how dare I cut my mother's hair?"
Isabel Judez
Original sculpture / Isabel Judez
Collaborators for the sound piece / Antonin Bexon and Iga Vandenhove.
Parametric design consultant :
Johan Navarro / Estudio Panamétrico
3d printing and modeling :
Pierre-Loup Boisseau / Atelier PLB
Photographie :
Alexis Lucena, Aloyse Leledy et Iga Vandenhove
Galerie :
Le Hublot d’Ivry
The artist contrasts the exploitation of natural resources with the delicacy of the environment depicted.
The artist denounce extractivism in contemporary art, illustrated by Wolfgang Kraker von Schwarzenfeld’s ‘Global Stone’, which used a sacred stone from indigenous cosmology. This approach questions the relationship between art, environment, and indigenous communities.
Composed of two mineral surfaces united by white steel rods, symbolizing the banks of a river, ‘Imprinted’ plays on reflection and materiality, while linking the elements of the sculpture. More than an artistic work, it is a call to environmental, social, and cultural awareness and responsibility.
