Pinta Miami – Crossing Cultures 2019
Job Sanchez
STAND 1A05
Mana Wynwood
December 4-8, 2019 – Miami.

PINTA MIAMI – Crossing Cultures after more than a decade as a reference in Latin American art for collectors, professionals, museums and institutions around the world, PINTA MIAMI consolidates itsIbero-American focus with the presence of Spain. It joins the Pinta Countries Section that this year counts with the participation of Argentina, Brazil, Ecuador, and Colombia. This section will be curated by Alicia Ventura, Roc Laseca and Oscar Roldan and, through the galleries, will present the proposals of two artists born after the 80’s or the cross between a young artist and a more established one. With this section the fair wants to give visitors the opportunity to discover emerging artists.

JOB SÁNCHEZ
Laboratorio doméstico* is the name given to the set of series on which I am
working these last years. It is a project that runs parallel to my research
doctoral. The thesis focuses on artistic practices in domestic environments, both as
places of exhibition and production; configuring a possible strategy within the current art
.

The New Codes series consists of paintings that play with a number of limited signs
(all of them from the transformation of the circle, the triangle and the square). These are combined
to elaborate cryptic visual messages. Here, the possibility of a new language is raised
universal in terms of formal structure but which, like any communication process, is not free
of interference. In addition, it is born with an awareness of its imperfection; becoming evident in the
impossibility of creating compact images. The reduced format and the non-toxic techniques
turn these paintings into a kind of chromatic exercises closer to the field of
craftsmanship (patterns or rhythms of ceramic or textile design).

Creciente refers to the precise moment of a cycle, when the idea is
maturing and developing within its own possibilities. It starts from the circle as a modular element
that folds, divides and turns to open; occupying the space that allows its area.
But always connected to the wall, with the clear intention of stating that these pieces are the result
of a plastic experimentation derived from the pictorial practice. The title gives name to a phase
of the lunation, which leads us to inscribe it in a cyclical process. But this trajectory is not
necessarily oriented to end in the same place where it begins; just delimiting a
period of my becoming as an artist. This project is materialized in painted wood reliefs and
cardboard, presenting a simple appearance; whose purpose is to connect the public with the processes,
through the use of affordable and recognizable materials and resources (typical of DIY or
crafts).

Finally, Après MB aims, through a game of irony and reparation, to establish a dialogue between a
series of small paintings and the general history of art. These panels, painted with oil
water and encaustic, are nourished by the imaginary and aesthetics of the avant-garde of the twentieth century. From a current perspective
, I reflect on the exhaustion of painting and the need to continue with
this discipline: of which we keep proclaiming its death and which we must constantly
resuscitate. The excuse or the starting point is the painter Maria Blanchard as a reference of
avant-garde, although less known than other contemporary male artists.
All these works are born from my particular domestic laboratory: a small room
size within the living space. In this way, the artistic practice becomes one more daily activity
-like eating or resting- and, therefore, deprofessionalized; adding to the great
paradox that defines art today. (Job Sánchez, 2019)

*With the hashtag #laboratoriodoméstico and as a digital graphic diary, I collect in my social networks
images and reflections on these series.