2501 and PASTEL painted on walls.
They made installation in a place and time that are in turn inscribed in their work, are a part of it, and produce an interdependence, between the artwork and its context.

Painting here is a black box that transform and contains the context.

The people who live there and the tension of the neighbourhood are a constitutive element of MIRROLESS PROJECT.

So the three subjects involved – artists, homes and people - facing each other that make up this installation, form their own materiality, complex and fragmentary, expansive and detailed, and transform this tensions into a fourth subject: FOUR SHORT DOCUMENTARIES based in Wynwood.

Wynwood, where a multitude of images coexist in different cores of attention, through different manners of painting and a set of variation (from events to gestures, from ghetto to gentrification), imply the critical, ironic and paradoxical acceptance of chaos as a creative and co-existential principle.

PASTEL and 2501 made spatial intervention on FOUR HOUSES:
HOUSE#1- NW 26st and NW 1st Ave.
HOUSE#2- NW 25st and N Miami Ave.
HOUSE#3- NW 25st and N Miami Ave.
HOUSE#4– NW 25st and N Miami Ave.

They met many people like JULES, DINZEL and JOSEPH.

From today's perspective and on the basis of a contemporary understanding of art, 2501 and PASTEL apply a range of artistic strategies and mean to explore the building's fundamental idea of being a model-like, ideal space for the presentation of art.

MIRRORLESS PROJECT deals with different categories:
firstly, home and its facade as utopian spaces for art, which is an architectural sculpture in themselves; secondly, the categories of performance, documentation; furthermore, self-reflectively, the film medium; and finally people who know this place because they live, walk and look at rapid change that is taking place here.

This analysis is not about a lamentation about their imminent destruction, which would find its counterpart in “colorful ghetto” or “ideal place”, but rather about the “peripheries of perception” into a random interaction with what is happening in Wynwood and with its inhabitants.

As well as the aim is not to impose some sociological or anthropological reading onto a set of images and artworks. Rather, it is to convey the experience of the place where they are produced – which constitutes an essential element in the work process of these artists - in order to delineate the singularity of their practices and experience within the contradictory territory of Wynwood today.

The silent and mechanical vision of the camera is coupled with an interest in spatial and relational juxtaposition that set up dialectical tensions occasioned by a clash between people and simultaneous, yet utterly separate, events.

A play of mirrors could show a provocative mean of perception, with the observer seeking an escape route or a way of reaching the destination.
Like the doors, windows and walls are a kind of books of a blank pages on which a transverse story is written.

2501 and PASTEL suggest a lucid glaze on an optical illusion.

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