Manuel Esnoz I The Lemon, the sun 2023
- Lenght (cm):200.0
- Height (cm)150.0
- Width (cm):5.0
- Mixed Media on linen
- One of a kind
The Lemon, The Sun by Manuel Esnoz captures the essence of deconstruction and reconstruction, where the act of divisionism becomes a method of exploration and transformation. Esnoz’s process begins with the dissection of everyday, often provocative images—found in magazines, billboards, advertisements, and newspapers. These visual sources, once meant for consumption in the real world, are broken down into abstract particles and reorganized across the canvas. This piece invites the viewer to question the nature of representation in art. Esnoz’s approach transforms familiar imagery into something unrecognizable, creating a space for contemplation on form, shape, and the role of the individual components in the larger whole. Through this method, Esnoz emphasizes the importance of translation in art—each particle or fragment serves a purpose, contributing to the composition of the painting as both an isolated element and part of a unified narrative. As materialism and the physicality of materials play a crucial role in Esnoz’s recent work, The Lemon, The Sun is not just an exploration of content but also of form. The deconstruction of these found images becomes a form of research, a way to learn by observing and understanding the individual pieces that make up the larger picture. This artistic process, grounded in the separation and reassembly of particles, highlights the artist’s fascination with how meaning and representation are created, destroyed, and transformed on the canvas.
Early Life and Education
Born in Buenos Aires, Argentina, in 1974, Manuel Esnoz began his artistic journey in the early 1990s. His initial exposure to the art world came through a scholarship program founded by renowned artist Guillermo Kuitca. Esnoz's formative years were shaped by influential workshops with notable artists, including Martin Reyna and Diana Aisemberg.
Artistic Practice
Esnoz's work is characterized by a series of constant procedures that emphasize appropriation and extraction. He integrates elements from “connect the dots” games, Ben-Day dots, and halftones, using deconstruction and reconstruction to convert source materials into organized particles on canvas. His sources often include imagery from mainstream magazines, advertising, and newspapers, questioning the nature of painting and representation.
Translation is a pivotal concept in Esnoz’s practice, where division serves as a method of exploration and deconstruction becomes a tool for information and learning. His approach to art transforms the composition of found images into new entities, provoking contemplation of their structure and role within the whole.
Recent Developments
In his recent works, particularly from the 2018 exhibition "Painting for Robots" at Kravets/Wehby Gallery in New York, Esnoz has embraced new materials, such as glitter and plastic gems. He employs pointillism and random arrangements, reflecting a personal interpretation of difference and urgency. This practice raises questions about authenticity and value, challenging traditional hierarchies in art.
Esnoz’s explorations often involve appropriating iconic artworks, such as Cezanne’s "Three Bathers." He disassembles these figures into brush strokes, pixels, and tiles, creating a dynamic interplay between reconstruction and deformation. The grid, a recurring motif in his work, serves as both a compositional tool and a subject for exploration, inviting viewers to consider the boundaries of order and chaos in art.
Exhibitions
Manuel Esnoz has exhibited widely across multiple countries, showcasing his work in both solo and group exhibitions. Notable recent exhibitions include:
- Across the River and Into the Trees - Kravets/Wehby Gallery, New York, NY, USA (2021)
- Painting for Robots - Kravets/Wehby Gallery, New York, NY, USA (2018)
- History of Porn - Jakob Karpio Gallery, San Jose, Costa Rica (2013)
- Boy Toy Has a Window - Artists Space, Turin, Italy (2012)
- Farewell Mon Pasticheur - Kravets/Wehby Gallery, New York, NY, USA (2010)
- Galaxia - Artcore Gallery, Toronto, Canada (2009)
- A Pedazos - Dabbah Torrejón Contemporary Art, Buenos Aires, Argentina (2007)
Prizes & Awards
Esnoz has received several accolades throughout his career, including:
- Young Artist of the Year (2001) - Argentine Association of Art Critics, Buenos Aires, Argentina
- First Mention (1997) - Federico Jorge Klemm Foundation Award, Buenos Aires, Argentina
- Leonardo Painting Award (1996) - National Museum of Fine Arts, Buenos Aires, Argentina
- Mention (1995) - Gunther – C.A.Y.C. Award for Painting, Buenos Aires, Argentina
- Second Prize (1994) - C.A.Y.C. Klemm, Buenos Aires, Argentina
- Young Artist of the Year (1993) - Art Critics Association, Buenos Aires, Argentina
Collections
Esnoz's work is included in several public and private collections, such as:
- Museum of Modern Art of Buenos Aires, Argentina
- Malba-Fundación Constantini, Buenos Aires, Argentina
- Neumann Family Collection, New York, NY, USA
- Neuberger Museum Collection, Connecticut, USA
- Solita Mishaan Art Collection, Miami, FL, USA
Conclusion
Manuel Esnoz continues to challenge the conventions of contemporary art, living and working in New York, USA. His innovative use of materials and techniques, coupled with a profound exploration of representation and value, positions him as a significant figure in the contemporary art landscape.
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