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ver currículum en pdf tomado de la página web del artista
Con temas, serios, divertidos, y reflexivos que son expresiones de su vida, experiencias y conocimiento. Sus temas están llenos de comprensión espiritual culturalmente distinta de la tradición del norte de Europa, nos proporciona historias y alegorías en papel y lienzo, manejadas tanto en acrílico como en óleo.
Exposiciones Individuales
Exposiciones Coletivas (selección)
Pemios 1998 Grant FONCA Morelos jóvenes creadores. Colecciones Rhode Island School of Design Museum.
Galero que lo representa: David Jacobs Atelier http://theblimp.org/art/bonnin/
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Art that interest me is like a mirror. Not a clear, ordinary mirror but a strange one: a blurry, foggy and sometimes dark mirror. A mirror that reflects not necessarily the world of physical objects around us but our inner world instead. The world of feelings, emotions, dreams, drives and thoughts that inhabit us. Sometimes this type of art is kind and reassuring, it tells us exactly what we want to hear. But other times it works like the evil witch´s mirror in Snow White telling us things that makes us uncomfortable. For instance, that we´re not the prettiest people in the kingdom, that we´re not as good or innocent or easy to understand as we would like to think we are. Things that we don´t necessarily want to hear but that may be nevertheless true. I believe in art that illuminates the life of the soul, both the uncharted regions of the self with its dark motivations and the well known obsessions like love, death, hope and desire that makes us the complex and interesting beings we are. Of course for an artwork to be effective aesthetic experience must come first but once the initial shock starts to fade an accomplished piece must make us think and by doing this we learn something about ourselves. We should be able to see the rich and varied ways that we humans are capable of produce to interpret and deal with what it means to be men and women sharing a common world. In this case, art operates like Alice´s in Wonderland mirror: it allows us to see into the other side to discover the infinite number of ways there are to look at the world with which to enrich our own personal views. There is one last metaphor of art as a mirror I would like to mention. It is the greek myth of Narcissus. As you know, Narcissus was a very handsome young man. When he was born the seer Tiresias prophesied that Narcissus will lead a long life as long as he never get to know himself. Cursed by the gods because of the many lovers he deceived, Narcissus sees his own reflection on the clear, undisturbed waters of a pond. This was not an ordinary pond but the pond of Artemis, the huntress goddess sister of Apollo capable, as his brother was, to heal or bring death to humans. Immediately Narcissus falls in love with his own image. Mesmerized by what he sees Narcissus is unable to move finding himself in a paradoxical situation: On the one hand he longs to posses what cannot be grasped and at the same time, even though he knows he´ll never have the object of his desire, he also knows, with absolute certainty, that this object (his own image) will never betray him, will never belong to anyone else but to himself. Unable to move, eat, sleep and be loved in return Narcissus dies. Where his body was a flower grows: the white narcissus. This, to me, is the perfect picture of what art does. Art captivates us, seizes our minds, our bodies and souls, and makes us fall in love with it. Art can only be understood at the risk of our own lives. I don´t mean that we need to die to understand a masterpiece but we definitely need to be shocked by it and changed by it, which is a way of dying and being born again. So art can be dangerous. Picasso, who was a very smart man, said once that “Art is a weapon” and also that “Art is a lie that speaks about the truth”. What kind of truth that is is for each one of us to find out. For my part, instead of talking forever, I will like to leave you with a very modest bunch of lies hanging from this virtual walls. I hope you enjoy them. Pedro BONNIN
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