Worn soles of shoes, damaged photographs, matchboxes and found paintings are passed through a process of pentimento – of reworking, erasing and altering – generating palimpsest works that convey the effects of the passage of time, natural elements and histories of use; galvanising these narratives through a regulated surface.
With a working methodology that is as mystical as it is disciplined, de la Mora’s use of repetition connects with notions of Zen philosophy, whereby recurrent actions lead to a meditative practice. These, in turn, have the power to decelerate time; or in this instance, suspend it.
Recent solo exhibitions include: Gabriel de la Mora: EntropÃas, Proyectos Monclova, Mexico City, Mexico (2018), Crystals of Inevidence, Sicardi Gallery, Houston, TX, USA (2017), Gabriel de la Mora: Sound inscriptions on fabric, The Drawing Center, New York, USA (2016); GalerÃa OMR, Mexico City, Mexico (2015); Lo que no vemos lo que nos mira, Museo Amparo, Puebla, Mexico (2014); LucÃferos, Sicardi Gallery, Houston, USA (2014); Señales Aleatorias/Ruido Blanco, Museo de Arte de Sonora (MUSAS), Mexico (2012); Exposición Panamericana, NC-arte, Bogotá, Colombia (2012); Ruido Blanco / White Noise, Museo de Arte Contemporáneo de Oaxaca (MACO), Oaxaca, Mexico (2011); Frágil/Fragile, Museum of Latin American Art (MoLAA), Long Beach, USA (2011).https://artsorigin.com/wp-content/uploads/2019/07/pexels-photo-6617257-e1631861725291.jpeg
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