Drive in, Miguel Palma, 2011

Drive in, Miguel Palma, 2011

On density and movement in Miguel Palma’s work

Sculptor of cinematic objects, Miguel Palma materializes throughout his work a desire proclaimed by Boris Groys when, in On the New, a text from 2002, he answers his own question “Why does art want to be alive rather than dead?” in reference to contemporary artist’s intention of overcoming the historic, abstract and dead constructions of the past. Miguel Palma belongs to this generation of artists. He produces a moving reality and at the same time challenges us in an image sequence that generates the sensation of a constant and lively updating. In a circle of endless and repetitive rhythms, similar to the loop effect of videographic experiences and of a certain experimental cinema, the outcome and the beginning are simultaneously represented. We cannot forget either that his works begin with a mental image. Before being made, the sculpture is idea, visual imagination, and only afterwards can it be materialized, crystallized into a definite form. Projected in two or three dimensions, Miguel Palma’s images are, as he frequently reminds us, the result of an intuitive investment and of an experience of temporal - spatial interaction with the dense and complex reality.(1)

(1)Excerpt from "On density and movement in Miguel Palma’s work" by Sandra Vieira Jürgens published in Miguel Palma: Densidade catalogue, edited by Solar for this exhibition.

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