In this solo exhibition, Federico Jordán, as a medium, sets in motion the tortuous relation between intention and perception to travel through the poetic signs that humanity has left behind. In CAOSMSIS, the infective idea by Félix Guattari, the production of Jordán gives evidence of having been crossed again, even more prolific, between chaos and creation. The exhibition brings into view some of the concealed layers of human intervention that constitute our lives and invites the viewer into the furtive complexity of their own experience.

Anchored by a monumental wall installation composed of 336 hand-formed square ceramic tiles -laboriously created as a mural in four panels- the installation completes Jordán’s adaptation and embracing of the unplanned and imperfect sides of artistic creation. Each ceramic tile can show the impression of the will of the artist, holding in its grain the journey toward creation, which is in constant negotiation with desire and eventuality. It’s a mural that speaks loudly not just of work and care in each piece but also of beauty arising from its imperfectness and those so-called accidents occurring in an artistic process.

Complementing the ceramic mural is an extremely vivid series of enamel on metal sheets developing the same theme of appearance and disappearance. Gleaming surfaces, contrasting palettes, and metaphors for layers of meaning exist almost at every turn just beneath the surface of our daily occurrences. In these, Jordán invites the viewer to begin an act of closer consideration for those unsubstantial bonds that carry every one of us in our common humanity. He invites us to look beyond the obvious to recognize something of deeper importance in the everyday, ordinary, and even unremarkable.

As Jordán puts it, “I circulate between the conflict of my intention and the wanting of the image through flexibility, chance, and error. I am a witness to the imperceptibly invisible of the human and to the poetry from beyond the signs.” This is a call for not abandoning the insecurity of creation but rather the Kantian view of the beauty emanating from imperfection and spontaneity. He reminds us that a creative process, is seldom, if ever, linear, but rather some sort of twisted combination of finding and losing one’s path. CAOSMOSIS tightens the bond to re-elaborate the interrelationship among art, environment, and perception in tune with Guattari’s view of the web bonding all. Jordán’s exhibition requests a look into how contemporary art can be revelation and transformation, extending our perception of possibility and enabling us to participate in the world in unimaginable ways.

Colector.