
MA Show, Exhibition view
dimensions variable
2019
dimensions variable
2019
dimensions variable
2019
dimensions variable
2019
Dimensions variable
oil and acrylic on canvas, blankets, metal bar and ball, Solvent transfer on perspex, battery-powered Led strip and wood
2019
30 x 39 x 2 cm
Solvent transfer, Perspex, battery powered Led strip and wood
2019
DIMENSIONS VARIABLE
Oil on canvas, metal bar, metal ball, blankets, ceramic tiles, black iron oxide on canvas, solvent transfer on Perspex, battery powered Led strip and wood
DIMENSIONS VARIABLE
Blankets, metal ball and ceramic tiles
DIMENSIONS VARIABLE
Blankets and oil on canvas
300 x 220 cm
solvent transfer and black iron oxide on Japanese paper
2019
21 x 30
Solvent transfer and black iron oxide on paper
2018
66 x 36 cm
framed laser print on drawing paper
2019
160 x 113 cm
solvent transfer and black iron oxide on Japanese paper.
2018
Installation view
Digital prints, solvent transfer and iron oxide on various papers
2018
100 x 70 cm
Transferred inkjet print on paper
2017
120 x 90
Transferred inkjet print on Silk
2017
100 x 70 cm
Transferred inkjet print on paper
2017
120 x 90 cm
Transferred inkjet print on fabric and print on aluminium
30 x 20 cm
Print on aluminium
2017
32 x 27 cm
oil on plywood
2017
32 x 27 cm
oil on plywood
2017
120 x 75 cm
Transferred inkjet print on fabric and oil on paper
2017
120 x 75 cm
Transferred inkjet print on fabric and oil on paper
2017
38 x 28.5
Oil on paper
2017
38 x 28.5
Oil on paper
2017
120 x 75 cm
Transferred inkjet print on MDF and cotton canvas
2016
120 x 75 cm
Transferred inkjet print on MDF and cotton canvas
2016
Untitled
90 x 70 cm
Oil on Paper
2017
Transferred inkjet print on MDF
70 x 70 cm
2016
70 x 70
120 x 75 cm
Transferred inkjet print on canvas and oil on MDF
2017
120 x 30 (aprox)
Transferred inkjet print on fabric
2017
80 x 87 (aprox)
Transferred inkjet print on silk, acrylic on primed cotton canvas, wood and metal
2017
Hugo Flores
Born in 1989, Paredes, Portugal. Lives and works in London
Education
2007/2012 Painting First Degree, Faculty of Fine Arts, University of Porto, Portugal
2018/2019 MA Fine Arts (distinction), City and Guilds of London Art School
Selected Exhibitions
Artist Residencies
Casa Oficina António Carneiro, 3 months residency, Porto, Portugal
Contact
hugoflores.hugoflores@gmail.com
Bergson wrote in his book Time and Free Will (1889), “ What I ought to say is that every sensation is altered by repetition, and that if it does not seem to me to change from day to day, it is because I perceive it through the object which is its cause, through the word which translates it” (Bergson,2002, p89). According to the philosopher, the past acts on the present and our “cumulative experience” changes every event, sensation and experience of the environment.
This can be also applied to memories – every updated memory suffers from the existence of time that reshapes its existence. One of the primary intentions of my work, is to address the fragility of memory, the inevitable changes or shifts we experience over time. Also, the unclear memories; the darkness involving emerging images, our uncertainty about past events, memories that have more to do with physical memory than the eyes. Something that is not fixed to a time or a space, which does not have any protection and can just fall and disappear.
My current practice encompasses painting, printmaking, image appropriation, video and sculpture. With regards to the image within the work this is addressed to a variety of material and technical means
While the focus of my practice is primarily myself and my past, it does not aim to be autobiographical. All the techniques, materials and processes seem to be parts of a continuous search, and a failed or incomplete attempt to reach or to complete something intangible – memory.
Materials have a significant importance in my work. I rely on their properties to talk to the human senses and activate the viewer. According to Marcel Proust, memories are more than images and are connected to the body.
Brian Massumi writes, “When I think of my body and ask what does it do to earn that name, two things stand out, it moves and it feels” (Massumi, 2002, p1). “Affect precedes emotional states. Affect is not a personal feeling, it is a non-conscious experience of intensity – they cannot be fully realized in language because affect is always prior to, or outside of consciousness” (Massumi, 2002, p.30).
In my practice I have no preconceptions about the materials I use; rather, there is a commitment to testing and exploring the potential relationships between materials and images. All of them work together in what I see as a search to uncover and convey authentic memory and experience, even while I am aware of the ultimate impossibility of doing this.