My current work elaborates on spatial/textual/historical tensions that reveal contradictions between the represented and its representation, between the small personal anecdote and the grand historical narrative. My photography thus incarnates the failure of male socialization and the ways in which Latin America still conceives and applies power.
Between 1995-1998 I intervened crashed car pieces with photographic self-portraits holding my little girl. It was an attempt to challenge the archetypes at work in paintings like the Virgin with Child of Il Duccio de Buoninsegna, painted around the year 1300 A.C. , so abundant in catholic imagery.
The trashed car junk provided a most appropriatte showcase for masculine destructive powers, a reference to the Pantocratos "punishing god" (as oppossed to the all forgiving virgin Mary). Several of these pieces, including Toyota Corolla 92 (1996 and Taxi Year Unknown (1997), were exhibited at Body, Fragment Memory. In the catalog of this show, published by the Museum of Costa Rican Art in 1997.
The critic Vivianne Loria (current Lápiz Magazine collaborator) stated in that shows catalog: "In the Works by Jorge Albán, the image is diffused, hidden and enhanced as fragments on a metallic support, fragmented on it own. Sharp edges from the trashed car junk do not encourage tactile physical contact with the works, producing a sense of isolation that actually enhances the hieratic quality of the objects. Such paternal image explicitly comments on traditional religious iconography that embodies filial love around the Madonna figure. Going beyond ... Read More