Invocation for a return
A study for another work by the artist, Retorno (For Juan Mora Catlett), this collage exemplifies the echoing effect of the artist’s work. This composition also demonstrates how the artist challenges traditional art historical hierarchies that treat research and the creation of objects separately. This work reflects Mendez’s broader research practice—especially its aims to transgress linear conceptions of time and value that are indicative of colonial thinking.
Mendez's materials—frequently culled from archives and geographic sites—embody erased histories. The artist uses these materials in carefully researched works that examine how constructed histories shape our sense of self. Mendez, as a first-generation American of Mexican-Colombian descent, engages with the transnational experience as it relates to ritual and cultural memory to create his artworks—exploring the tensions between fiction and truth, as well as visibility and absence.
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Harold Mendez’s photography, sculpture and installation works explore the tensions between fiction and truth, as well as visibility and absence. The artist’s work combines research with archival materials culled from geographic sites—objects that embody erased histories—to examine how historical constructions and geography shape our sense of self. As a first-generation American of Mexican-Colombian descent, Mendez’s practice draws from the transnational experience—and its relationship to both ritual and cultural memory.
This collage, a study for another work by the artist, aims to transgress linear conceptions of time and value that are indicative of colonial thinking. This work reflects the artist's broader research practice and its relation to the artist's creation of objects—a process outside traditional art historical hierarchies.More
- Framed: 9.4 x 12.1 x 1.5 in.