Andrea Domenech Revesz Artist


BREYTINGAR-mudances is an art project developed in Iceland during spring 2017. It investigates processes of change related to cultural-geographical environments and corporeal experiences. 

BREYTINGAR shows an itinerary through different days where I have selected spaces that have act as experiencial triggers that I have later used in the studio to develop body performances. Breytingar is built on these bounds created throught the adaptation period and intends to enlight how the process of inhabiting a space happens in relation to the process of inhabiting the body.

A reflection on the body shadows

A reflection on the body shadows is an artistic project that I am developing since the end of 2015. My intention is to open a reflection space where to think about identity by using a gaze that observes the body beyond the usual limits, a gaze that convenes a meeting with its deepest skins.
With that purpose, I develop a trans-disciplinary process that allows me tracing various itineraries between what is visible and what is hidden, to go through an open and multi-focal dialog where the art work unfolds and creates new senses about a corporeality generated by a body that is medium and meeting point, that latently holds memories that are left by experience in the shadow of consciousness.  
In this process my body is a working tool, the observed object and the subject that observes. During the first stage I discover this body, I apprehend it, I use it to generate spontaneous productions where I explore different states originated between movement and stillness. I search  in this body a space where to anchor to the hidden latencies, where to be able to observe the body image skeleton that has been invisible till that moment.
I collect these experiences with video recordings that I later use as studies for the following process stages where I work with video editions, photographical series, paintings and drawings on paper.  
I propose to the observers an open itinerary, the possibility to access the body of the work from different points and to generate their own reflections.



Vessels is a project developed in China, Thailand and Barcelona in 2015.
A vessel is an object where things are deposited and contained, a place that serves as a receptacle.
Over centuries each vessel has kept her own story and mysteries. Nowadays it is told that the most ancient vessels are between 18000 and 20000 years old.
They differ in the materials and production methods that have been made of, in their external decoration, and in their functions and intentions.
However, all vessels have something in common, it is a vacuous interior that has both a functional and a symbolic character.
In my project the image of the body is assimilated to the concept of vessel.
I think about a body with sensitive and permeable limits, a body that has an empty interior that is defined through time and history. I think about a space full of latent memories that emerge on the canvas revealing the secrets of the body, like a hand that is introduced in a vessel to take some of the content that has been hidden inside during long time.
It is the inner body depicted through the textures and tones of its different skins, its fragments, shadows and holes.
Each Vessel expresses the isolated voice of a body state on a silent background.


Places in Transition

Places in transition shows a series of works that portray uncommon landscapes that could sometimes be found on the thin line separating the strange and the familiar.
These are subjective landscapes depicted by a language that sails between the figurative and the abstract, in a process where internal and external matter are fused.
Through these representations I question the relationship between the body, the landscape and the space of the work.

Landscapes can all be in transition since all of them exist in a changing order related to culture, history or territory. However, in these works I tackle the concept from a point of view that observes places transitioning from the known and the unknown, and between what belongs to the self and what is common.

I like to think about the fusion of diverse matter under the same  binding order, about formal architectures that unfold on the canvas shaping geographies, and sometimes about landscapes weaved with corporal entities.