09.04.15 – 30.05.15
Javier León Pérez
Puerta Roja, Asia’s first and only gallery specialising in Latin American and Spanish art, presents Horarium by Javier León Pérez opening on Thursday, 9 April until Saturday, 30 May 2015. After successfully exhibiting with Puerta Roja at international art fairs throughout Asia for the past year, León Pérez’s works have been acquired by collectors in the Philippines, Indonesia, Taiwan, South Korea and Hong Kong.
Born and raised in Seville, Spain, León Pérez envisions his work process as a daily ritual. An endless repetition of small, interweaving elements that cover the surface of his works, acts as a mantra. For the viewer, the initial impact of the powerful black and white patterns and the tactile, velvety textures slowly move into a full aesthetic sensory experience.
Horarium, the first solo show of León Pérez artwork to be exhibited in Hong Kong, reflects upon the concept of “time” as an artificial construct formed by the human mind. In doing so, it is able to create a coherent understanding of events by arranging them into a linear sequence: a past, a present and a future. Each of these elements exists within the paintings and sculptural paper works of the artist’s latest exhibition, in varying intensities and proportions.
León Pérez states, “Horarium derives from the liturgical works named the Book of Hours; a sort of diary or calendar that organizes different liturgical rites and prayers into a daily, monthly and annual cycle,” says León Pérez. “It represents a formula for the organization and temporal management of human behaviour, integrated in a cycle analogous to those of the microcosmic or macrocosmic worlds. I generate creation and labouring cycles that repeat and describe a temporary space reflected in the final pieces of my artwork. For me, it is a way to connect with the universe’s cyclical rhythms.”
In his works, León Pérez invokes the philosophical idea of Li (理), a concept found in Neo-Confucian Chinese philosophy that refers to the underlying order of nature as reflected in its organic forms. This “natural geometry” is spontaneously generated in the physical world and can be visible, for example, in the textured patterns that arise in the bark of trees as they grow, or in the cracks that arise in dry clay. The artist’s Cydonia series relates directly this idea of Li symmetries in the sense that the pieces aim to understand the underlying geometric patterns generated by “work in progress” as a parallel to those generated in natural order.