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Ishmael Randall-Weeks: Desert Displacements

Past exhibition
11 January - 9 February 2024 Gallery
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Open a larger version of the following image in a popup: Ishmael Randall-Weeks, Código Atemporal #81, 2023
Open a larger version of the following image in a popup: Ishmael Randall-Weeks, Código Atemporal #81, 2023

Ishmael Randall-Weeks b. 1976

Código Atemporal #81, 2023
Soil, Pantanos De Villa, White Sand, La Oroya, Grey Marble Dust, Pink Clay, La Encantada, Grout 900 + Mud, Chilca, Cement + Chalk, Black Venetian Stucco, Aluminium, Wood
40 x 36 x 15 cm
15 3/4 x 14 1/8 x 5 7/8 in
Courtesy of the Artist and Lawrie Shabibi
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Further images

  • (View a larger image of thumbnail 1 ) Ishmael Randall-Weeks, Pizzara IV, 2023
  • (View a larger image of thumbnail 2 ) Ishmael Randall-Weeks, Pizzara IV, 2023
Código Atemporals (Timeless Codes) is series which consists of layered blocks of cement and grout, mixed with various materials. Each “timeless code” presents a series of quadrangular cuts that reveal...
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Código Atemporals (Timeless Codes) is series which consists of layered blocks of cement and grout, mixed with various materials. Each “timeless code” presents a series of quadrangular cuts that reveal its multicoloured strata. The different hues depend on the materials used to make the layers, such soils, brick dust, and agricultural products. In these stratifications, references to multiple temporal, geographical, and cultural horizons converge: the shapes of the cuts recall the aerial views of pre-Columbian temples, archaeological excavations, and open pit mines, as well as of modern architectural blueprints, and even of 20th century European and Latin American geometric abstraction. The layers of these “codes” entail a physical sedimentation of the earth, but also of time. Made with materials gathered by the artist in his daily life, the works constitute a sort of diary of everyday life; a compressed history encompassing very different timescales - that of the subject and that of ancient civilisations.

Designed as a series of 100, each Código presents us with layering materials that evolve into intricate references to architecture, archaeology, and anthropology. The layers chronicle walks from the artist's studio to archaeological sites, reinterpreting the sacred Ceque system and ritual pathways of the Inca Empire. The panels, akin to visual diary entries, detail each collected and dated layer, encapsulating the artist's perception of time and personal connections to collective history. Through this process, the artist constructs a tangible representation of time, building up a narrative of the past.
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