Iñaki Domingo

"We have talked and written a lot in these months, much more than too much. So much, that we have almost finished the language off by striving to twist and strain it without compassion, until we got it to say exactly what we wanted to say at every turn. Kilometers of words, liters of ink and saliva and lighted screens have predominated... during the confinement we have needed to assert our opinions more than ever, even to the point of making them more important than the very subjects they dealt with; here the question was to express oneself. If we have not come to employ all the formulas and configurations offered by the practically unembraceable combinatorics of language, in order to dress our truths with words, we have remained close. We have mistreated it a lot during this time, poor thing, and  it has been exhausted. It is practically clinging to the last thread of life, as if to say, so we should keep an eye on it.

Let’s see, I don’t know... I believe that an instrument of this importance deserves our unfailing loyalty, that we look after it and preserve it with care, that we show the will to comply with its rules of use and that we accept certain limits in pursuit of a collective benefit, which is none other than to fulfil the mission of being the indispensable vehicle for communication. It's no small thing. But it also happens that language is an organism as wonderfully rich and complex as it is delicate, and it requires some attention. We cannot go around vilifying it in any way and then wait to meet it there, in the same place, as if nothing had happened. It happens to it as it does to every other living thing who suffers, begins to show signs of weakness and ends up being dysfunctional. It is not difficult to imagine the contemporary Tower of Babel that we would become, the night so deep into which we would sink, if we did not even have the possibility of language to understand each other.

So now that it seems that we have said all that we had to say, that we have raised our voices before every audience and have dispatched ourselves at ease, perhaps it is time to stop again. Yes, just now, again, but this time to finally reconcile ourselves with our silence and thus learn to live with it definitively, precisely in order to, through it, get used to using language with a greater sense of moderation and temperance."

'Poor language', Iñaki Domingo

Specular vertical pyramid b/w, from the series ‘Mirrorworks’

2019

clear mirror, grey mirror, metal, adhesive

48 x 30 x 5 cms

About the series

‘Mirrorworks’ is an open and developing body of work in which I have been working since 2015. It consists of sculptural objects (wall sculptures, floor sculptures and pedestal sculptures) in a geometrical form by which I reflect on the material properties of the mirror to explore the limits and contradictions faced by the photographic medium as a tool of representation of reality.

The works appeal to the field of photography, but at the same time interweave problems related to the pictorial, and ultimately to visual perception itself. They are, therefore, neither photographs, nor sculptures, nor paintings but hybrid and intermediate vision devices that distort the appearance of all of them.

About the series

‘Mirrorworks’ is an open and developing body of work in which I have been working since 2015. It consists of sculptural objects (wall sculptures, floor sculptures and pedestal sculptures) in a geometrical form by which I reflect on the material properties of the mirror to explore the limits and contradictions faced by the photographic medium as a tool of representation of reality.

The works appeal to the field of photography, but at the same time interweave problems related to the pictorial, and ultimately to visual perception itself. They are, therefore, neither photographs, nor sculptures, nor paintings but hybrid and intermediate vision devices that distort the appearance of all of them.

Iñaki Domingo

Iñaki Domingo (Madrid, 1978)

Iñaki Domingo (Madrid, 1978) is a visual artist. From an abstract approach, his work studies the behaviour of the mechanisms of visual perception and focuses on the relationship between the gaze and the representation of reality.

He has had numerous individual and group exhibitions in museums, art centres and galleries in Spain and abroad, and his work is part of public and private collections.

He is co-founder of the studio Altura Projects, in which he develops his artistic projects. In addition, from this platform he collaborates independently with institutions and public and private entities for which he carries out curatorial and publishing projects and develops work as a teacher.