There is little or nothing in Swing, beyond its title, that refers to the celebrated work of Fragonard. Swing moves along more conceptual paths, connecting with part of the great artistic meta-narratives of the twentieth century. Swing is gently insinuating both the ready-mades * Duchampians and the mechanical universe of Tinguely.
In Swing, the shovel, as a suggestive, symbolic and marked ambivalence element, is submitted to a process of trivialization by Reyes, converting, in the last instance and with the incursion of movement, into a sort of recreational artifact.
However, beyond this formal transfiguration, what really underlies the work is the systematic exploration of the movement as a creative medium and, above all, the highly evocative capacity of the latter**.
* Precisely the first ready-made of Duchamp, of 1915, was a shovel of snow suspended from the ceiling of his workshop. It was titled In anticipation of a broken arm.
** It is no secret that the idea of movement, one of the great totems of the creative process has come from the late nineteenth and early twentieth century. This is noticeable in the photography of Muybridge, the Italian futurists, the movers of Calder, the sculptures of Naum Gabo or those of Jean Tinguely. A suggestive quote from the latter to illustrate this idea: “Life is movement. Everything is transformed, everything changes without ceasing. Trying to stop such a modification or trying to stop life in mid-flight and capture it again in the form of a work of art, a structure or a painting, for me it is just the same as mocking the intensity of life “See in: VVAA. Art of the XX century. II volumes. Cologne, Taschen, 2005. p. 508.
Shovels, clips, elastic and spray
680 x 92 x 36 cm