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Drawing Inventory: Then and Now. Alexis Mendoza. 2018
Exposición: Drawing Inventory: Then and Now, William Musto Museum, NJ

 Ángel Delgado’s work consists of a series of phenomenological visual inquiries that are primarily involved in traces rather than signposts, and those traces activate flows of meanings rather than the concept of meaning itself. The primary motivation for Delgado’s drawing as a storytelling is to apply discursive and intuitive knowledge in order to raise questions about the origins of life and the generation of thought. His work consists in gathering together substances, and organizing constituent matter, in order to systematically recapitulate what one might uncover through gaps that are so evident in his work. These gaps are of primary importance. Their meanings are defined by their limits and their boundaries.

“Drawing Inventory: Then and Now” explores Ángel Delgado’s works from the early 1990’s to the present focusing exclusively on his drawing work. This survey exhibition is a paradoxical compatibility between the use of a priori systems and the individual touch of the artist in an artistic environment that embraced an anti-emotive “serial attitude” as something akin to an ethos. Delgado’s career have been made of the purported purging of authorial intentionality and subjectivity, which placed the artist in a heightened emphasis on analytic rigor, systematic planning, and serial methodologies. The artworks had been created on various surfaces and supports such as: handkerchiefs, toilet seats, give bags, etc, pushing the process- and systems-based approach to artistic production in various directions. Angel Delgado elevated the working through of an idea to a position of importance, which he understands as equal to that of the resulting work. Drawing, a medium long associated with both the activity of ideation and the manual act of creation, played a central role in attempts by artists associated with the process-based and conceptually rigorous practices to open up established understandings of aesthetic production as well as a generative site for the ongoing negotiation of the relationship between subjective and objective approaches, between touch and measured distance. “Drawing Inventory: Then and Now” thus offers a compelling means through which to reexamine the received narrative of the art of this production period. Ángel Delgado is able to bring drawing to stellar levels, and when this element is consider exhausted its potential, lacking now and without a promising future. Ángel’s stories shows us otherwise in their daily tasks to create new and unexpected worlds, because every day more are those who enjoy with the acquisition and contemplation of his works, which have reflected the experiences of his pictorial universe. Among the artists delivered by the clear metaphor, it accurate and mysterious in its decisions association and the recognition of the image, the experience is met oblique.

I propose the relevance and importance of Ángel Delgado’s work lies not in the storytelling level of the format that exist in front of our eyes, with their formal and stylistic significance, however competent, or even masterful they might appear, however ‘visually relevant’ to particular aesthetic partisan concerns they might be at the time of their viewing now or in the future. Rather his work materially embodies a meta-narrative of meaning that expresses a condition beyond meaning, allowing us to apprehend instead a direction of relaxation. Ángel Delgado’s expansive work are traceries consisting of vast enigmas that attempts an impulse towards a sliding movement towards a sovereign silence that attempts to articulate its movement away from symmetric relations - a bounding away from a syntax of oppositional forms’. The contradictions in the artist’s work arise out of purposeful ambiguity through which is drawn are drawn unexpected meanings and associational levels. If it is true that an idea resolves from liberating the consciousness from all concrete elements and all relations to the concrete, then all the bridges between the work of Ángel Delgado and the comprehended will be a unity of knowledge. The man and the people can achieve their life of metaphor and image, maintained by the experience oblique, can chart the enchantment that is unanimity. “Drawing Inventory: Then and Now” it is not the infinite wall where the interpretation gives closure or enchantment, but the, suspension, from an artist that has a way of comprehending drawing as a storytelling that is neither tedious nor banal. It is vivacious, it is nimble, it is light. Such rapid intelligence of the artist and such pleasing facture! It’s the accumulation of artworks, a true inventory, but how accurate the indications are. In the sense, that he render not the story but the sensation produced by the figures in each drawing.

Cuban-born Bronxite Alexis Mendoza is an interdisciplinary artist, independent curator, and author. Alexis Mendoza Lives and Work in The Bronx, New York.