fueradentro
FOD is an artist whose work, through painting, sculpture, drawing, or installation, revisits the aesthetic principles of Constructivism, Cubism, the Bauhaus, and the broader trajectory of modernist traditions linked to both geometry and abstraction.
The relationships between form, materials, and color serve as a starting point for allusions to a reality in which spatial, architectural, and even urban references unfold before the viewer without ever presenting fully defined or narrowly confined scenarios. FOD’s work constructs and deconstructs structures, placing our gaze before complex and highly ambiguous figures that are there, yet not fully there: houses, buildings, passages, courtyards, containers, façades, scaffolding, party walls, streets, billboards, and more.
In this process of recognition, memory plays a fundamental role, with its capacity both to reconstruct what is no longer present and to distort it upon reappearance. The artist’s formal analyses emerge from a lived, sensory experience of physical reality, which he translates into figures, colors, planes, and schemes, producing a reading of the city and its disjointed contemporary imaginary, where axes and coordinates dissolve.
fueradentro brings together and organizes this entire referential universe of the artist, linking a journey through some twenty works that support each other as well as the imposing architecture of the building that houses them. Each piece is carefully placed in relation to surrounding structural elements, designed to establish a close dialogue with perspective axes, heights, views through railings, visual diagonals, and the succession of truncated planes across the floor.
The result produces a spectacular, baroque-like effect of expansion, where material reality and aesthetic artifice blur their boundaries. Each discipline spills into the next: drawing into painting, painting into mural, mural into relief, relief into sculpture, sculpture into installation, installation into architecture, architecture into the city.
FOD’s works are “nomadic” and portable; they can be dismantled, recomposed, and reused in a continuous play of assemblages, where notions of waste and recycling go hand in hand. The exhibition design emphasizes this playful character in FOD’s work, making it highly responsive to the elements that shape the spaces in which it is installed. In this case, much of the work was created specifically for the exhibition or modified for it. Materials, supports, scales, functions, forms, and tensions intersect across artistic disciplines.
The exhibition invites visitors to move in and out of purely plastic considerations to engage with architectural space, enjoying both simultaneously in a back-and-forth journey, just as the artist does in his own practice, reading the works in parallel with the tectonics, ornamentation, iron, stone, chrome, and glass of the Palacio de Cibeles.