Fundació Vila Casas
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Virtual Exhibition

Mayte Vieta


Sin Fín
Start 30/04/2016
Exhibited from January 15th to April 3rd, 2004 in Fundació Vila Casas

With Mayte Vieta...(Glòria Bosch)

Gloria Bosch

Mayte Vieta

 

G.B. How is the articulation of time and space manifested in your work?

M.V. Time is one of the most important aspects of my work. I believe it is the base, because I've always started from beginnings, in a constant return to the past to find there the guiding thread. I don't only work with photography, but also with sculpture and installation, and I don't know where I might end up because what really interests me now is movement: this began with photography and can be seen in the sculptures as well. I work images and installations with ever greater intensity because they allow me to transmit to the...


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EXHIBITION PAINTINGS: 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17
Efímera
2004
Sculpture
Mixed media and dissected butterflies

This piece by Mayte Vieta is delicate, introverted and pastoral. It immerses us in a small and obtuse universe where timelessness is made real. A mirror in the base shows that we form part of the world and draws us into the artist’s reflections on beauty. We are ephemeral, we are temporal but for an instant we are trapped in a complex reflection, suspended in the thoughts of Vieta. Efímera takes these thoughts on beauty and what defines it as its starting point. Its title points to the concept of temporality which the artist has attempted to conserve in methacrylate.
Animales del Tiempo, Galgos
2003
Sculpture
Bronze

Mayte Vieta presents her work by means of different languages. Although she frequently makes use of photography, she always provides it with a physical space, thus transforming it into a sculptural object. In some cases she also experiments directly with sculpture. Simple lines and profiles, limited use of colour and great symbolic content. Animals of Time showcases totem-like figures. Dream-state greyhounds bordering on the surrealistic, recalling Dalí’s elephants plucked from the subconscious.
De su amada memoria
2003
Installation
Wood and resin

Memories carefully stored and arranged, biding their time and surviving in cages, on the alert for the moment they can spread their wings and fly. Captives. Mayte Vieta’s figures, immobile and threatening waiting inside their black cages, ready and expectant. Allegories perhaps for those prized moments, all the more valuable for being so volatile and ephemeral. And the artist, as a metaphor of time passed in danger of fading into oblivion, has decided to keep her memories in birdcages. Despite knowing that this will only preserve a small part of them. Nostalgia, memory and the past are constants in the artist’s work.
El umbral
2003
Installation
Stainless steel rods and resin

The artist awaits us at the threshold, present in the delicacy of her work. Hundreds of wings show us the doorway to cross. It is the entrance from one world to another. For the artist it may be the pathway from life to death, from the present to the past or maybe the future. These are all recurring themes in her work. She also works with the exhibition space, creating a special atmosphere for inducing in the viewer an atemporal state in which only emotion and concept exist. Reality retreats to make way for the emotions the artists aims to transmit to the viewer. To this end she often establishes dialogues between her pieces and between them and the space. In this particular piece the artist offers us a choice; whether to cross the threshold or simply remain spectators.
La bise noire
1992
Installation
Photographic installation

She sees water both as a refuge and a wrecker of ships, as a union of opposites, as emptiness and plenitude. The Mediterranean, nostalgic, envelopes her and her models. Le bise noire pulls us down into the depths of an atemporal space. Absence is in turn totality. Mayte often swings between opposites; the natural and the human, darkness and light, the past and present, movement and immobility. These dualities culminate in a strange, bucolic, at times surreal, universe in which we are immersed.
Mujer raíz
2000
Sculpture
Resin and roots

Roots are often used by Mayte Vieta as a symbol of the passing of time. Root Woman is a translucent being nurtured by time. Roots, like arteries, feed this being, whose existence is made up of the minutes, hours and days that pass. It feeds, grows, twists upon its self and seeks sustenance with impossible movements, constituting this being’s structure which, although static, remains filled with experiences and as such life.
Tarde de encuentro
2002
Photography
Photography

Bucolic images swinging between dreams and reality. Far horizons endowing the space with a sense of openness. Silent and imposing nature. Mayte Vieta often travels to the past in her photographs. She makes use of the Mediterranean Sea as a context. It is automatically transformed into her quintessential symbol of nostalgia. Her landscapes induce in us a bitter-sweet melancholy that defines passed time that will never return. It is perhaps an attempt to control time. The artist, who describes herself as a nostalgic person, travels as often as she can to those places that take her back in time. Encounter Afternoon is perhaps an encounter with an experience already lived.
Ivernando
1999
Sculpture
Case of glass and bronze

The root waits, now dead and desiccated, to return to life. On pause and in repose, preserved under glass, displayed and theatrically lit. It is resigned to not growing, to waiting, to wintering. Time does not pass, time is detained inside its case and the root remains, waiting, wintering. For the artist roots are often a symbol of the passing of time. While we preserve this root we can metaphorically control the passing of time. Or perhaps not; perhaps Vieta wants to show us how time toughens, how hours and days create curves, convolutions and knots. How time defines us, forms us and twists us. How it allows us to grow. Perhaps Mayte is showing how we exist thanks to time, and that without it we would cease to exist and simply winter, waiting for time to pass once again.
Cabellera del Tiempo
2002
Sculpture
Paraffine

Trail of Time is a work consisting of three paraffin wax sculptures placed in steel and glass display cabinets. Once again we can see the artist’s obsession for preservation and slowing down the passing of time. Delicate figures representing the female body appear translucent and understated. They show the delicacy and ephemerality of the body. Far from representing only the artist and being mere self-portraiture, they speak for the fragility of the human body, at times showing it as defenceless. Vieta does not focus simply on a self-portrait but a representation of all bodies of all people. She looks for a universal representation.
Cabellera del Tiempo
2002
Sculpture
Paraffine

Cabellera del Tiempo
2002
Sculpture
Paraffine

Raíces
2003
Sculpture
Bronze

El cebo
2003
Sculpture
Resin and glass

A ciegas
2003
Photography
Duratrans photography, metacrilate and glass

A ciegas
2003
Photography
Duratrans photography, metacrilate and glass

Naufragio
2003
Photography
Duratrans photography, metacrilate and glass

Tarde de encuentro
2002
Photography
Duratrans photography, metacrilate and glass





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