Maximiliano Rosiles,
1992, Guanajuato, Mexico
Bio
Maximiliano Rosiles' artistic process is greatly influenced by his upbringing, which was split between the border area of South Texas and Guanajuato, Mexico. In his work there is an intention to consider the intersections of his Mexican origin and life experiences in the United States. Rather than being defined by one culture or the other, he transcends this duality by establishing a belonging that resides in an indefinite, non-sited space that is immersed in transcultural syncretism.
The subjects and materials that occupy a central place in his language are those that transit covertly on the periphery of industrial, sociopolitical, and cultural production systems. His work spans installation, sculpture, video, and performance – which he uses to investigate topics related to labor, migration, globalization, acculturation, and the social-environmental impact of mass-production.
Through his formal exploration, Rosiles analyzes the industrial transformation of materials, particularly textiles, while exploring the boundaries of form, texture, mass and space. With his use of textiles, he establishes a tangible connection to his point of origin by employing an anthropological materialism that centers his practice on a diasporic vernacular mashup of the past, present, and future. By utilizing precarious materials and morphologies closer to abstraction than figuration, the aesthetics employed in his work are used to captivate viewers by evoking physical and emotional responses, prompting them to reconsider the nuanced issues he is presenting.
Many of his projects are linked to the concept of liminality – described by Maximiliano as “being in a constant state of deconstruction, transformation, and healing within the interface of contradiction.” It is a practice characterized by fragmentation, reconfiguration, and unification of disparate elements – drawing from the chaotic nature of living in a perpetual state of transition between conflicting cultures, beliefs, and perspectives. Positioned from the view of an outsider, Maximiliano's work blurs the threshold between seemingly contradictory elements, forging hybrid forms that utilize the in-betweenness as its raw material.
The subjects and materials that occupy a central place in his language are those that transit covertly on the periphery of industrial, sociopolitical, and cultural production systems. His work spans installation, sculpture, video, and performance – which he uses to investigate topics related to labor, migration, globalization, acculturation, and the social-environmental impact of mass-production.
Through his formal exploration, Rosiles analyzes the industrial transformation of materials, particularly textiles, while exploring the boundaries of form, texture, mass and space. With his use of textiles, he establishes a tangible connection to his point of origin by employing an anthropological materialism that centers his practice on a diasporic vernacular mashup of the past, present, and future. By utilizing precarious materials and morphologies closer to abstraction than figuration, the aesthetics employed in his work are used to captivate viewers by evoking physical and emotional responses, prompting them to reconsider the nuanced issues he is presenting.
Many of his projects are linked to the concept of liminality – described by Maximiliano as “being in a constant state of deconstruction, transformation, and healing within the interface of contradiction.” It is a practice characterized by fragmentation, reconfiguration, and unification of disparate elements – drawing from the chaotic nature of living in a perpetual state of transition between conflicting cultures, beliefs, and perspectives. Positioned from the view of an outsider, Maximiliano's work blurs the threshold between seemingly contradictory elements, forging hybrid forms that utilize the in-betweenness as its raw material.