In 1966, Roland Barthes announced the death of the author for the first time. In the field of art this meant that the artist, as creator, ceased to hold the monopoly of the interpretation of his works and other readings were equally defensible*. This multiplicity of meanings, which always present themselves in Reyes´ work, reaches its highest level in Phoenix Carriage.
Recurring elements in this case; the wheel or the cage, which are amalgamated here alongside the skeleton of an umbrella and a string of chairs forming an impossible vehicle, of quixotic bearing and metamorphic nature. The possibility of constant permutation flowing through the work is precisely, along with its evocative mythological title, which gives Phoenix Carriage the stimulating ability to resurface and be reborn in us at each viewing **.
* Pooke, G and Newall, D. Basic Art. Madrid, Cátedra, 2010. Page. 224.
** On the trend ad infinitum part of the artistic production of Reyes see also the catalog of the exhibition Zumbido with texts by Juan Francisco Rueda. P. 22 and 36.
Iron, wood, rubber and spray
168 x 194 x 72 cm.