FELIPE MUJICA: ART, GEOMETRY AND COLLECTIVE EXPERIMENTATION AT BEAM

Mujica explores elements of color, form, and terrain that he learned in a seminar by Eduardo Vilches at the Pontifical Catholic University of Chile in the 1990s. His work aligns with the influential color theory of Joseph Albers, developed in the 1960s and still relevant today.

In his most recent work, Mujica has created ten gouache-on-paper pieces, painted and hand-cut on both sides. These pieces follow a grid system and geometric rules that the artist has been investigating for nearly 30 years. Each represents one of many possible future combinations, in a constant process of reinvention where exploration and recreation are essential.

"Play" is a key concept in his work. While play often implies structure and limits, in Mujica's case, it becomes a means of creative freedom. The pieces are displayed in transparent acrylic frames, allowing them to be viewed from both sides. They are constructed from two sheets of paper layered on top of each other, with geometric cutouts that reveal the layer beneath, generating a sense of openness and experimentation. This visual system evokes an unknown language, a series of symbolic glyphs, or a unique visual grammar.

The exhibition also features Árboles Imaginarios, a series of screen prints in which Mujica employs a strict palette of black, red, gray, and off-white, in a nod to El Lissitzky. These geometric forms, based on thin lines and shapes such as rhombuses and parallelograms, relate to the playful structures of Te regalaré un abismo. Similarly, El Cóndor Pasa, another series of 12 screen prints, maintains a rigorous geometric structure and an equally defined color palette.

The textile works, or "curtains," belong to the series Join Hand in Hand With All Who Work. These pieces were created collectively in different locations and with various techniques, reflecting both Western geometric abstraction and Indigenous textile traditions. During a residency at the Industriemuseum in Ghent, Belgium, Mujica worked with a local community to produce textiles influenced by the area's textile history. The collaboration allowed participants to share knowledge and experiences through embroidery workshops, fostering interaction and mutual understanding. Beyond the formal exploration of geometry, these pieces reflect the social and political history of their community of origin, integrating memory and art into a collective experience.

The Spirit of Science Fiction can be seen until February 22 at Beam, 33 Seely Road, Nottingham NG7 1NU (United Kingdom).