Artists: Mariella Agois, Miguel Aguirre, Ricardo Alcaide, Alberto Borea, Jorge Cabieses, Alberto Casari, Aldo Chaparro, Margarita Checa, César Cornejo, Dare Dovidjenko, Sandra Gamarra, Huanchaco, Billy Hare, Haroldo Higa, Edi Hirose, Fernando La Rosa, Nicolás Lamas, Julio Le Parc, Benjamín Moncloa, Vik Muniz, Musuk Nolte, Pedro Peschiera, Jorge Piqueras, Liliana Porter, Emilio Rodríguez Larraín, Valentino Sibadon, Pier Stockholm, José Tola, Adriana Tomatis, Patrick Tschudi, and Alice Wagner.
Divertimento
January 14 – February 6, 2015
Galeria Lucia de la Puente
Lima, Peru
Group show
Image: Alberto Borea, from the series American Deconstruction, 2015, Collage on canvas, 150 x 190 cm.
February 24, 2015 Billy Hare https://abstractioninaction.com/artists/billy-hare/Linear perspective was made possible at first through the “camera obscura” and has pervaded western art since the Renaissance. Today, most lens made photographs use this method as a standard way of registering the world. Taking fixed point perspective to an extreme would mean that photography was invented in the 15th century.
In some of my earlier series I had been challenging the way straight photography described my experience of time and place. A few years ago this concern took me to radically change the way of understanding how my experience of the visible could be freed of a single viewpoint. A structure oriented form of registering temporal and spatial relationships, continuous movement rendered by duplication and mirroring.
Continuous Variables is the mathematical term I chose for these series. The visual complexity of the repetitive modular units recombined, emphasizes variation within sameness. Once I started building these images it became clear that similar structures could be found in music, physics, the organic realm, and notoriously in the great Peruvian pre-Columbian textiles. Self expression was substituted by a sense of discovery of a different way to understanding the real. Continuous movement broken down and reconfigured gave me a whole new visual experience of the world around me and a clear departure from fixed point perspective.
Traducido del inglés
La perspectiva linear fue posible gracias a la cámara obscura y se ha difundido en el arte occidental desde el Renacimiento. Hoy en día, la mayoría de los lentes hicieron que la fotografía utilizara este método como norma al registrar el mundo. El tomar la perspectiva de punto fijo a un extremo podría significar que la fotografía fue inventada en el siglo XV.
En algunas de mis series tempranas había cuestionado la forma en la que la fotografía directa describía mi experiencia de tiempo y lugar. Hace algunos años, esta preocupación me llevó a cambiar radicalmente la manera de entender cómo mi experiencia de lo visible podía ser liberada del punto de vista singular. Una forma de registrar relaciones temporales y espaciales, movimiento continuo reproducido por medio de la duplicación y reflejos, concentrada en la estructura.
Continuos Variables (Variables continuas) es el término matemático que elegí para esta serie. La complejidad visual de la recombinación de la repetición de las unidades modulares enfatiza variación entre la semejanza. Cuando comencé a construir estas imágenes me quedó claro que estructuras similares podrían encontrarse en textiles peruanos precolombinos. La expresión individual fue sustituida por un sentido de descubrimiento de una forma diferente de entender lo real. El movimiento continuo, dividido y reconfigurado, me dio una nueva experiencia visual del mundo a mi alrededor y un claro alejamiento de la perspectiva de punto fijo.
Selected Biographical Information
Education / Training
- 1978: Discípulo de Minor White y Aaron Siskind. Rhode Island School of Design Master Program, Providence, Rhode Island, USA.
Prizes / Fellowships
- 1992: Guggenheim Fellowship.
- 1978: Fulbright Scholarship.
Solo Exhibitions
- 2011: Galería Lucia de la Puente, Lima, Peru.
- 2010: Galería Lucia de la Puente, Lima, Peru.
- 2008: Galería Lucia de la Puente, Lima, Peru.
- 1997: “Retrospectiva”, Patronato de Telefónica, Lima, Peru.
- 1985: Sala Luis Miro Quesada, Municipalidad de Miraflores, Lima, Peru.
Group Exhibitions
- 2013: “Order, Chaos, and the Space in Between”, Phoenix Art Museum, Phoenix, USA.
- 2012: Pinta, New York, USA.
- 2012: Armory Show, New York, USA.
- 2003: “The New World´s Old World”, AXA Gallery, New York, USA.
- 1999: “Especies de Espacios”, Fotografía Contemporánea en Perú, Casa de América, Madrid, Spain.
- 1996: “Documentos: Tres Décadas de Fotografía en el Perú”, MALI Museo de Arte de Lima, Lima, Peru.
Publications
- Variables Continuas, Galería Lucia de la Puente, 2008.
- Billy Hare, Fotografías, Patronato de Telefónica del Perú, 1997.
Collections
- MALI Museo de Arte de Lima, Peru.
- Diane and Bruce Halle Collection, USA.
- Colecciones Privadas, Lima, Peru.
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- Billy Hare, “108T-I”, 2008, Series: Variables Continuas, Carbon print on cotton paper, 110 x 100 cm. Private Collection. Image courtesy of the artist
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- Billy Hare, “115T-I”, 2008, Series: Variables Continuas, Carbon print on cotton paper, 110 x 100 cm. Private Collection. Image courtesy of the artist
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- Billy Hare, “117T-I”, 2008, Series: Variables Continuas, Carbon print on cotton paper, 110 x 100 cm. Private Collection. Image courtesy of the artist
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- Billy Hare, “123T-I”, 2008, Series: Variables Continuas, Carbon print on cotton paper, 110 x 100 cm. Private Collection. Image courtesy of the artist
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- Billy Hare, “128T-I”, 2008, Series: Variables Continuas, Carbon print on cotton paper, 110 x 100 cm. Private Collection. Image courtesy of the artist
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- Billy Hare, “201T-I”, 2008, Series: Variables Continuas, Carbon print on cotton paper, 210 x 100 cm. Private Collection. Image courtesy of the artist
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- Billy Hare, “204T-I”, 2008, Series: Variables Continuas, Carbon print on cotton paper, 210 x 100 cm. Private Collection. Image courtesy of the artist
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- Billy Hare, “205T-I”, 2008, Series: Variables Continuas, Carbon print on cotton paper, 210 x 100 cm. Private Collection. Image courtesy of the artist
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- Billy Hare, “206T-I”, 2008, Series: Variables Continuas, Carbon print on cotton paper, 210 x 100 cm. Private Collection. Image courtesy of the artist
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- Billy Hare, “207T-I”, 2008, Series: Variables Continuas, Carbon print on cotton paper, 210 x 100 cm. Private Collection. Image courtesy of the artist
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- Billy Hare, “VC 1424”, 2009, Series: Variables Continuas, Inkjet print on cotton paper, 110 x 100 cm. Private Collection. Image courtesy of the artist
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- Billy Hare, “VC 4654”, 2009, Series: Variables Continuas, Inkjet print on cotton paper, 110 x 100 cm. Private Collection. Image courtesy of the artist
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- Billy Hare, “VC 7416”, 2009, Series: Variables Continuas, Inkjet print on cotton paper, 110 x 100 cm. Private Collection. Image courtesy of the artist
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- Billy Hare, “VCCA 6745”, 2011, Series: Variables Continuas, Inkjet print on cotton paper, 104 x 97.5 cm. Image courtesy of the artist
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- Billy Hare, “VC 1513”, 2013, Series: Variables Continuas, Carbon print on cotton paper, 210 x 110 cm. Private Collection. Image courtesy of the artist
