Hugo Flores

OI000023

Grandma said

300 x 220 cm

solvent transfer and black iron oxide on Japanese paper

2019

OI000025

Untitled

Dimensions variable

Fabric, Metal, wood and ceramic tiles

2019

OI000009

Grandma

17 x 30 x 38 cm

solvent transfer on glass and wood

2019

OI000002

Untitled

126 x 150 cm

Acrylic and iron oxide on canvas

2019

PB121963

Matter and Memory

21 x 30

Solvent transfer and black iron oxide on paper

2018

P6243891

Untitled

Dimensions variable

Solvent transfer on perspex, steel ball and ceramic tiles

2019

P6243885

As true as I can remember

66 x 36 cm

framed laser print on drawing paper

2019

PB121936

Matter and Memory

160 x 113 cm

solvent transfer and black iron oxide on Japanese paper.

2018

PB121905

Matter and Memory

Installation view

Digital prints, solvent transfer and iron oxide on various papers

2018

100 x 70 cm
Transferred inkjet print on paper
2017

Still Nature

100 x 70 cm
Transferred inkjet print on paper
2017

120 x 90
Transferred inkjet print on Silk
2017

Untitled

120 x 90
Transferred inkjet print on Silk
2017

100 x 70 cm
Transferred inkjet print on paper
2017

Still Nature

100 x 70 cm
Transferred inkjet print on paper
2017

120 x 90 cm
Transferred inkjet print on fabric and print on aluminium

Still Nature

120 x 90 cm
Transferred inkjet print on fabric and print on aluminium

30 x 20 cm
Print on aluminium
2017

Still nature (detail)

30 x 20 cm
Print on aluminium
2017

32 x 27 cm
oil on plywood
2017

Still Nature

32 x 27 cm
oil on plywood
2017

32 x 27 cm
oil on plywood
2017

Still nature

32 x 27 cm
oil on plywood
2017

120 x 75 cm
Transferred inkjet print on fabric and oil on paper
2017

Still Frame

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

Still Frame

120 x 75 cm
Transferred inkjet print on fabric and oil on paper
2017

38 x 28.5
Oil on paper
2017

Still Nature

38 x 28.5
Oil on paper
2017

38 x 28.5
Oil on paper
2017

Still Nature

38 x 28.5
Oil on paper
2017

120 x 75 cm
Transferred inkjet print on MDF and cotton canvas
2016

hurricane

120 x 75 cm

Transferred inkjet print on MDF and cotton canvas
2016

85 x 50 cm
120 x 75 cm
Transferred inkjet print on MDF and cotton canvas
2016

Hurricane

120 x 75 cm
Transferred inkjet print on MDF and cotton canvas
2016

90 x 70 cm
Oil on Paper
2017

Untitled

90 x 70 cm
Oil on Paper
2017

Transferred inkjet print on MDF
70 x 70 cm
2016

Hurricane

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

Untitled

70 x 70
120 x 75 cm
Transferred inkjet print on canvas and oil on MDF
2017

uniteled
120 x 30 (aprox)
Transferred inkjet print on fabric
2017

Untitled

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

80 x 87 (aprox)
Transferred inkjet print on silk, acrylic on primed cotton canvas, wood and metal
2017

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.