Rodrigo Red Sandoval: From the Periphery
by Andrea García Cuevas
June 3, 2015
"I like the uncertainty that breaks the boundaries of disciplines and the language with which we approach things."
""I handle my practice from the periphery of disciplines as an anti designer, an anti artist and an anti architect."
"The periphery allows you to see things from a distance. However, the artist’s discipline is among all the most labyrinthine one"
"Ludopatía ll", Rodrigo Red Sandoval, 2013.
"Desestructuración", Rodrigo Red Sandoval, 2012.
"Fruit Tenants", Rodrigo Red Sandoval, 2014.
The practice of Rodrigo Red Sandoval is multidisciplinary, or more precisely, it is transdiciplinary[1]. In his work it seems there is no place for conventional or established definitions of design, art and architecture. To describe it, he suggests resorting to uncertainty, to that territory of interstices where not only the boundaries are erased, but gives way to a diversity of exchanges: "I like the uncertainty that breaks the boundaries of disciplines and the language with which we approach things."
 
Therefore, Red Sandoval (Mexico City, 1985) is not defined by the tools or values -aesthetic or conceptual- ​​which he applies in each area to develop his projects. He is not an artist, designer or architect, quite the contrary. "I handle my practice from the periphery of disciplines as an anti designer, an anti artist and an anti architect. The periphery allows you to see things from a distance. However, the artist’s discipline is among all the most labyrinthine one; it is difficult to reach the periphery of the city of art, when it seems that you are about to touch it you find yourself just at the center. It is extremely paradoxical", he explains.
 
The junction and transversal vision of Sandoval is mediated, perhaps, by his educational background. His education has been marked by artistic experience, technical rigor and analysis of thought, he is a visual artist. He studied industrial design, philosophy and art. This tour was meant to be a strategy in order to achieve the objectives pursued by his projects and to develop a theoretical framework that design did not provide.
 
Each discipline has allowed him to bring multiple perspectives to his work. However, it is in art where he has found a discursive and creative identity axis: "For me, the point of convergence is art. A work of art is a space that allows multilanguages: verbal, nonverbal or a combination of both. On the other hand, I am interested in design in its most basic sense, almost etymological, as a preparation for something that can be created; a starting point where the forms begin to be designed or intended in a prefigurative way."
 
In this context, and from the intersection of art and design, the creator has explored practically and conceptually one of his main interests: the space, "a dimension of human reality where we project meaning. There lives our memory, our consciousness. Without the space, our sense of individuality disappear, space embraces us physically and symbolically."
 
To approach that place of exchange, where the present subject is affected while building a sense of context, Sandoval has used the possibilities offered by the languages ​​of sculpture, performance and architecture. If "the space and objects shape the individual and vice versa," then what is really important is the performance that movement and sculpture are able to detonate. This is evident in Desestructuración (2012), a sculptural piece which from the illusion of a puzzle, deconstructs any given space. Or in Something Sitting Somewhere (2014), where spatial comes at once real and abstract due to the performativity that can be exercised in the real and virtual worlds.
 
In Fruit Tenants (2014) –commissioned by Ángulo Cero-, Sandoval took as inspiration and principles two key aspects in the history of art and design: the metaphysical paintings of Giorgio de Chirico and the Italian movement Memphis from the 80’s. These functional sculptures are small architectures that look like something out of a pictorial space traced by the Italian painter, where fruits exert the three-dimensional nature of the sculpture.
 
These pieces summarizes his interests, and project his perception about the relationship between the performative and the sculptural: "I enjoy to erase the barrier between performance and sculpture."
 
 
 
 

[1]Transdiscipline is an exercise where the boundaries of every field of knowledge involved in a process or an object, are inconceivable. In this context, languages ​​and methodologies typical of each discipline are essential for a creative production.
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