Out of One, Many

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Recent Work

Projects


Identity Series

Rodriguez-Gerada creates portraits in charcoal of people-until now anonymous-which scale the walls of buildings in our cities in a format that we can begin to describe as gigantic. They are gigantically defying, proud and dignified, more social than political. But let us not be mistaken, the art piece is not the charcoal drawing. The artistic process begins with the search for the city, the building, and most importantly the person to be depicted. This person must have a sense of belonging to the city that hosts the artwork, and must accept being converted into a monumental hero (like those of modernity described and defended by Baudelaire.) Rodriguez-Gerada’s protagonists become Goliaths confronting the powerful King Davids of politics and advertising.

What defines identity, that fragile and inconsistent-but necessary-sensation of being? This search is in fact one of the most arduous tasks in life-especially for an artist, and particularly for Jorge.

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Identity Series

Rodriguez-Gerada creates portraits in charcoal of people-until now anonymous-which scale the walls of buildings in our cities in a format that we can begin to describe as gigantic. They are gigantically defying, proud and dignified, more social than political. But let us not be mistaken, the art piece is not the charcoal drawing. The artistic process begins with the search for the city, the building, and most importantly the person to be depicted. This person must have a sense of belonging to the city that hosts the artwork, and must accept being converted into a monumental hero (like those of modernity described and defended by Baudelaire.) Rodriguez-Gerada’s protagonists become Goliaths confronting the powerful King Davids of politics and advertising.

What defines identity, that fragile and inconsistent-but necessary-sensation of being? This search is in fact one of the most arduous tasks in life-especially for an artist, and particularly for Jorge.

Alt Text
Identity composite series

Identity Composite Series

IDENTITY COMPOSITE is a multidisciplinary project. It’s initial stages of pre-production involved researchers from the Universidad Autònoma de Barcelona, who developed an algorithm programme that allowed the creation of an average/composite face using 3D facial scanning.

Up to now, the final image has been rendered as charcoal murals portraying the resulting average/composite face. These murals set the starting point for future IDENTITY COMPOSITE projects that would be carried out in different cities as monumental sculptures that mirror each location’s idiosyncrasy and population.

Identity Composite Series

IDENTITY COMPOSITE is a multidisciplinary project. It’s initial stages of pre-production involved researchers from the Universidad Autònoma de Barcelona, who developed an algorithm programme that allowed the creation of an average/composite face using 3D facial scanning.

Up to now, the final image has been rendered as charcoal murals portraying the resulting average/composite face. These murals set the starting point for future IDENTITY COMPOSITE projects that would be carried out in different cities as monumental sculptures that mirror each location’s idiosyncrasy and population.

Identity composite series


Terrestrial Series

‘I am critical of the marketing that has crept into so many facets of our lives. I decided to do work that would counter it by using the same codes used by advertisers such as scale, visibility and eye catching images. I want these new iconic images to be huge and placed in strategic places. The location, the scale and the materials that I decide to use are usually chosen to emphasize what I am trying to state with each project.

Working at very large scales becomes a personal challenge but it also allows me to bring attention to important social issues, the size of the piece is intrinsic to the value of its message. Creativity is always applied in order to define an intervention made only with local materials, with no environmental impact, that work in harmony with the location.’ Jorge Rodríguez-Gerada


Terrestrial serries

Terrestrial Series

‘I am critical of the marketing that has crept into so many facets of our lives. I decided to do work that would counter it by using the same codes used by advertisers such as scale, visibility and eye catching images. I want these new iconic images to be huge and placed in strategic places. The location, the scale and the materials that I decide to use are usually chosen to emphasize what I am trying to state with each project.

Working at very large scales becomes a personal challenge but it also allows me to bring attention to important social issues, the size of the piece is intrinsic to the value of its message. Creativity is always applied in order to define an intervention made only with local materials, with no environmental impact, that work in harmony with the location.’ Jorge Rodríguez-Gerada

Terrestrial serries

Culture jamming


Culture Jamming

‘During the early ´90s, I altered countless billboards and undertook guerrilla performances that called the attention of the media. All of these activities were focused in and around the New York City area. I was one of the founders of the “Culture Jamming” movement, which was the beginning of what later became public space advocacy Street Art.

The artwork and actions of this period were illegal. Tobacco or alcohol advertisements where altered or replaced with a new statement and image that spoke about the negative effects of these products in the minority areas where these advertisements were placed. People started realizing that this was more than just vandalism. I was once called by a police officer who had one of my silkscreened metal signs. It was removed by city workers and he hunted me down because he didn´t want to just throw it away. Another time I was arrested and taken to the station for altering billboards.

Culture Jamming

‘During the early ´90s, I altered countless billboards and undertook guerrilla performances that called the attention of the media. All of these activities were focused in and around the New York City area. I was one of the founders of the “Culture Jamming” movement, which was the beginning of what later became public space advocacy Street Art.

The artwork and actions of this period were illegal. Tobacco or alcohol advertisements where altered or replaced with a new statement and image that spoke about the negative effects of these products in the minority areas where these advertisements were placed. People started realizing that this was more than just vandalism. I was once called by a police officer who had one of my silkscreened metal signs. It was removed by city workers and he hunted me down because he didn´t want to just throw it away. Another time I was arrested and taken to the station for altering billboards.

Culture jamming

Urban Analogies

‘Many years of creating urban art in a manner that does not cover, but instead involves the visual narrative of wall surfaces, led me to the URBAN ANALOGIES series. I decided to create new pieces that were coherent and symbiotic to my other work by removing old interior wall surfaces from abandoned buildings and transferring those textures onto wood panels.

The URBAN ANALOGIES series is a cohesive parallel direction to the large scale identity series murals that I begun creating in Spain in 2002. In the URBAN ANALOGIES series I focus on fragments of faces from people that are close to me. The significance of this work lies upon the importance given to the weathered and worn urban surfaces for their intrinsic value.

Urban analogies

Urban Analogies

‘Many years of creating urban art in a manner that does not cover, but instead involves the visual narrative of wall surfaces, led me to the URBAN ANALOGIES series. I decided to create new pieces that were coherent and symbiotic to my other work by removing old interior wall surfaces from abandoned buildings and transferring those textures onto wood panels.

The URBAN ANALOGIES series is a cohesive parallel direction to the large scale identity series murals that I begun creating in Spain in 2002. In the URBAN ANALOGIES series I focus on fragments of faces from people that are close to me. The significance of this work lies upon the importance given to the weathered and worn urban surfaces for their intrinsic value.

Urban analogies
Fragments




Fragments Series

Wall extractions, charcoal and acrylic washes.

The Fragment series is a cohesive parallel to the large scale IDENTITY series. The significance of this work lies upon the importance given to the weathered and worn urban surfaces extracted for their intrinsic value. Each surface used in this body of work is at least 150 years old.

Fragments Series

Wall extractions, charcoal and acrylic washes.

The Fragment series is a cohesive parallel to the large scale IDENTITY series. The significance of this work lies upon the importance given to the weathered and worn urban surfaces extracted for their intrinsic value. Each surface used in this body of work is at least 150 years old.

Fragments

The driving force of the aesthetic to my gallery work are the weathered textures that I use as a metaphor for the passage of time. The Urban Analogies Series are charcoal gazes blended with 150+ year old urban surfaces that I transfer onto wood panels. The Terrestrial Series are huge mandalas that are created with a careful selection of materials. They are primal screams asking for reflexion. I enjoy to continually explore new materials. I am now working on a sculptural series with the same conceptual direction.’

Jorge Rodríguez-Gerada

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