Julia Aurora Guzmán

COLUMNS

Drawn to systems of support, these often anthropomorphized columns are sculptural metaphors for mental and emotional support.

Anam, Cara,
2023, ceramics (Anam) 187 x 20 x 18 cm, (Cara,) 185 x 20 x 18 cm

The discontinuous ceramic columns Anam, Cara are made with clay coils added in a concentric manner one on top of the other, as if each work contained a symbolic vertical labyrinth. Anam is the Gaelic word for “soul” and Cara for “friend”. Soul friend is the title for this diptych of columns that represent interdependence: the bonds that support a common roof and the importance of being in company that offers support. Being fragmented with the golden ratio, the columns need support themselves to stand upright and they allude to the cyclical nature of life.

Entretanto
2024, ceramics, mirror & brass, 111.5 x 23.5 x 23.5 cm

Wave Column
2020, ceramics, 100 x 96 x 20 cm

Columna Embarazada
2020, Ceramic & Steel, 23.5 x 23 x 168 cm

Navel-Column,
2020, ceramic, 20 x 20 x 110 cm

Columna Descompuesta
2019, Cement, plastic, mesh, peroní seeds, metal, paint, 245 x 15 x 15 cm
1st photo credit: Valentijn van der Hulst.

-The Colonnade - All made with: Plastic, cement, paint, fabric, thread
Auric Column - Stage Holder I, 195 x 15 x 15 cm
Auric Column - Stage Holder II, 120.5 x 15 x 15 cm
Auric Column - Stage Holder III, 74.5 x 15 x 15 cm
Auric Column - Stage Holder IV, 46 x 15 x 15 cm

Auric Column - Stage Spectator AKA Chiki Deluxe,
2019, Plastic, fabric, thread, white cement, mirror, metal, paint, 71.5 x 47.5 x 20 cm

Pillar as Nest
2019, Cement, plastic, marblecast, hydrocal, fiberglass, wax, fabric, mesh, thread, 36 x 184 x 290 cm
* Exhibited at the Main Section of Art Rotterdam 2019, in a duo exhibition with Simone Hoang, represented by Galerie Fontana

La Lengua del Arco de Mamey
2017, Mirror, Metal, Acrylic Mesh, White Cement, 128" x 84" x 16"
An installation and architectural intervention - this piece responds directly to the dimensions and proportions of the space. The mirror-arch follows the existing arches of the space, maintaining the same impost while it acknowledges the rest of the exhibition in its reflection. The unfinished arch has the radius of an absent one, if it existed between the East and West walls of the gallery. The half column, made by white cement rubbed into acrylic mesh, completes itself in the mirror, decomposing to a flat "tongue" that rests on the main platform of the exhibition. 
* Exhibited in solo exhibit How to Stand, Galeria Mamey Eddy Guzmán, Santo Domingo, 2017-2018.

La Palma
2017, Metal, 337 x 445 x 177 cm
A site-specific sculptural installation; a column that splits like a palm into different poly-lobed arches which geometrically reference the existing ones in the gallery space. An architectural intervention and an interactive sculpture whose negative spaces are activated once the spectator enters and follows the path the installation is offering. This piece takes ownership of its place in the gallery by attaching itself to the wall and the floor, thus collaborating with the integral platform of the show. 
* Exhibited in solo exhibit How to Stand, Galeria Mamey Eddy Guzmán, Santo Domingo, 2017-2018.

King
2017, Acrylic Mesh, Duracal, Thread, 53" x 8" x 8"

Siamese Columns
2017, Acrylic Mesh, Fabric, Duracal, Thread, Wood, 51” x 10” x 30”