103-0011 東京都中央区日本橋大伝馬町2−5 石倉ビル4階
Ishikura bld. 4F, 2-5、Nihombashi-Odenmacho, Chuo-ku, Tokyo, 103-0011
tel +81-(0)3-6661-7687 / fax +81-(0)3-6661-7690
e-mail info@jiromiuragallery.com
open hours 12:00 - 19:00 Tuesday - Sunday
closed on Monday and National holidays
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会期:2016年7月29日(金)〜8月7日(日) 12時〜19時 月曜・火曜休

協力:Gallery EDEL






( Produced by Articsok Gallery, written by Co-Director Peter Alexander Por )


Marcelo Suaznabar

29 July Fri. - 7 August Sun., 2016 / 12:00-19:00
closed on Monday, Tuesday

Born in Oruro, Bolivia in September 1970. Self - Taught. He attended some painting classes at the School of Art, Center for Extramural Studies, at the Catholic University of Chile in 1992.

My paintings follow the tradition of allegory and didacticism of painters like Hieronymus Bosch. I also engage elements from the Surrealist tradition although my images are not automatist. They have more in common with surrealism as access to the subconscious or dream world. However, my conscious intentions are to comment on the looming environmental catastrophe that becomes increasingly unavoidable due to the structure of human society, with all its greed and temptation for the soul.

I grew up in the city of Oruro on the Altiplano region of Southern Bolivia, which is desert-like but paradoxically retains a sense of the magical. My father had a farm there so I have an instinctive affinity with animals and the landscape. Some of my paintings make use of desolate settings that hark back to this region. I combine animals with humans in hybrid forms. They also become items of furniture, stretched out like couches or limos.

My painting style is naive realist and this helps me introduce humour, transforming and making unusual allusions. Thus, a tree stands uprooted on a table. It is comical but also indicates that the tree died so the table could live. Furniture is used as a prop to present absurd ideas, like a four poster bed so high only a giraffe could reach it while harlequins from the circus ride tall monocycles in darkened settings.

I also use text on banners so that language is transformed into a physical, poetic substance and pours out of mouths like ribbons. This convention was popular in the Renaissance. I have developed a lexicon of symbols that I use in different paintings: thus the egg, symbolizing the fragility of life or the cube which represents the constructed or manmade. Clocks express teleological urgency. Chequerboard of black and white squares take the place of landscape in many works, indicating human colonization of nature. The mechanical nature of human invention invades the natural order of things. The bar code represents a dehumanizing presence, as we become just numbers.
Marcelo Suaznabar
( Produced by Articsok Gallery, written by Co-Director Peter Alexander Por )

With the colaboration of Gallery EDEL (Osaka, Japan)


No. image title medium measurement (cm)
1 El fumador Oil on board 25.4x25.4cm
2 El Huevo Oil on board 25.4x25.4cm
3 Untitled Oil on board 25.4x25.4cm
4 Untitled Oil on board 25.4x25.4cm
5 Untitled Oil on board 30.5x22.8cm
6 Prestame tu libro Oil on board 40.6x20.3cm
7 Fragil Oil on board 25.4x25.4cm
8 Aperitivo Oil on board 25.4x25.4cm
9 Burbujas Oil on board 25.4x25.4cm
10 Burbujas Oil on board 25.4x25.4cm
11 Eggs Oil on board 25.4x25.4cm
12 El beso Oil on board 25.4x25.4cm
13 Ciclista Oil on board 45.7x91.4cm
14 The cat Oil on board 20.3x20.3cm
15 Untitled Oil on board 25.4x25.4cm


103-0011 東京都中央区日本橋大伝馬町2−5 石倉ビル4階
電話 03-6661-7687
FAX 03-6661-7690
東京都公安委員会 第301041206877号
4F Ishikura Building, 2-5, Nihombashi-Odenmacho, Chuo-ku,
103-0011 Tokyo, Japan
Tel : +81-3-6661-7687 Fax : +81-3-6661-7690