Gabriel de la Mora
2,154 I, 2019
Human hair on paper
Framed dimensions: 23.62 x 23.62 x 1.57 in
Capilaries , 1996 – ONGOING
In 2004, I began working on the drawing series with human and synthetic hair on paper. I decided to give my pictorial work a rest and return to drawing, without resorting to traditional techniques. I began by writing 30 or so definitions of my conception of drawing. After working on refining the list, I was left with only one definition: “Drawing is a collection of points and lines that convey an image, idea, or concept on paper.” I then decided to use hair to represent the lines. The first drawings consisted of portraits rendered
with hair (dna) that belonged to the persons I chose to work with.
(Gabriel de la Mora in Drive and method, 2011, p. 60.)
Gabriel de la Mora (1968, Mexico City) lives and works in Mexico City. De la Mora focuses his artistic practice on the use and reuse of discarded or obsolete objects that seem to have completed their utilitarian life. More interested in the deconstruction and fragmentation of an object or material over time, De la Mora rejects the notion of the artist as a virtuous and focuses on reconstruction based on practices based on the passage of time and processes, echoing the Ready-made concept. In an obsessive process of collecting and cataloging discarded objects -old radios, shoe soles, microscope slides, egg shells, doors, and daguerreotypes- De la Mora creates new geometrical assemblages by rearranging their fragments. Interested in the juxtaposition of making the ephemeral reappear in a new light, De la Mora gives visibility to the aura of the object, compressing its immateriality, which once removed from its previous narrative and arranged in a context of exhibition, seems in turn to be watching us.