Documentos de Académico
Documentos de Profesional
Documentos de Cultura
Selection of works
[2012-2017]
Ephemeral conditions
[2017]
Ephemeral conditions
[2017]
Tempus edax rerum
Metal bed frame, elastic rope, lemon.
Dimensions variable.
Still life
Scaold, ceramic vase, motorcycle helmet.
Dimensions variable.
NN
Modied African mask.
Portrait (Michael) Link
Used airbag. Carabiner, dry seaweed.
45 x 35 cm 14 x 5 x 2 cm
Catheter
Ceramic vases, metallic tube, used engine oil, water.
Dimensions variable.
Window
Cracked car windshield, moss.
Dimensions variable.
System of objects 2
IKEA drying rack, bone, used airbag, Primark shirt,
dry seaweed, leopard skin, broken car glass, ring,
necklace, lure, body cream, dry sh, foam, protective
cup, antifreeze.
162 x 72 x 72 cm
Leg
Plastic, leggins.
51 x 18 x 17 cm
Industrial shell
Motorcycle helmet.
33 x 25 x 24 cm
Dead time
Empty ostrich egg
12 x 9 x 9 cm
When the jewel touch the bone (Katrien)
Metal tube, ring.
Membrane
Plastic container, metallic mesh, cloth softener.
43 x 36 x 15 cm
Graft
Aluminum, leopard skin.
Motionless body
Car engine, carpet.
Dimensions variable.
When the jewel touch the bone (Eva)
Metal rube, fake pears.
Gravity
Ceramic vase, door.
Dimensions variable.
When the jewel touch the bone (Irene)
Aluminum fragment, necklace, nose earrings.
Dry skin, warm fur
Fox fur, radiator.
Dimensions variable.
Every object is a temporal space
[2016]
Loss of symmetry
[2016]
Loss of symmetry
Installation with dierent objects.
600 x 500 x 75 cm
Stop motion #1
Plasticine, wood.
44 x 32,5 x 2,8 cm
Topographic mesh
Metallic mesh, paint, tennis ball.
190 x 180 x 48 cm
Erosional processes #1
8 pool balls, 8 stones, wood.
122,5 x 92,5 x 7 cm
Fossil
Running shoe, cement.
11 x 29 x 10 cm
Ways to organize the world
[2016]
Syncretism
LED TV screen, voodoo fetish from Benin.
Dimensions variable.
Synthetic marble Petried data
Plastic chopping board. Newspaper.
48 x 34,5 x 2,5 cm 30,5 x 24,5 cm
Escafandra
Plastic, oyster shells.
28 x 23 x 25 cm
Natural pattern
Carpet, vegetables, fruits.
195 x 135 cm
Between the lines I
Metallic structure, dry shes.
52 x 126 x 4 cm
Dysfunctional links
[2016]
Empty box
12 National Geographic magazines.
17,3 24,5 x 8 cm
Hand
Plastic, metal, snail.
123,5 x 14 x 21 cm
An apparent chasm among things
[2016]
Brittle space
Bench vise, seashell, IKEA wall cabinet.
120 x 37 x 50 cm
System of objects 1
IKEA drying rack, shirt, orange, ambient scent, dry meat, fake
jewelry, snake skin, cooper thread, T-shirt, stone, steel
fragment. 162 x 72 x 72 cm
Left & right hemispheres
Primark sneakers, animal skull fragments.
Dimensions variable.
Reversible condition
Turtle shell, anti freezer.
19,5 x 15 x 6 cm
Agreement
IKEA chair structures, ceramic vase.
Dimensions variable.
Space management
IKEA towel rail, ceramic vase.
Dimensions variable.
Instructions (Rational fragments)
Inkjet on cotton paper.
40 x 28 cm (each)
Functional paradox
IKEA waste paper bins.
35 x 27 x 27 cm
Soft matter
Marble dust, plastic
Dimensions variable.
Weltkarte
Sanded Atlas.
Dimensions variable.
Cabinet
IKEA wardrobe frames, UV
print on Plexiglas, marble.
200 x 35 x 136 cm
Potential remains
[2015]
This project shows a study of the relationships between the physical and
the virtual, the classic and the contemporary by questioning various
models of (re)presentation and documentation in two physically
dierent spaces but complementary in layers of meanings.
On the ground oor we enter a digital scenario with three projections,
that in some cases remind us of the error images on television when
dierent channels synchronize as a result of poor reception. The data of
error was of great importance in putting together these collages made
with images of dierent art works and exhibition spaces found on the
Internet (on sites such as Contemporary Art Daily). Within one
projection we recognize the removal of data to obtain a new visual result
while in the other projection juxtaposed layers of visual documentation
are combined to create a new image.
with contemporary art nowadays is mainly determined by our
confrontation with artworks and exhibition views on the screen. How
do these images inuence our references and vision of contemporary art
practices?
On the rst oor Lamas has created a constellation composed by various
found objects from the Academy. This time he moved physically like a
aneur through the school collecting objects to be incorporated in a new
system. From this intuitive quest he created a presentation model using
pedestals, Plexiglas and other materials as the fundamental part of the spatial
structure. This all is held together by the relationships between the objects
and the tension to become part of something else. During this process he has
organized, systematized and examined the dierent elements when they
come to stand in relation to each other and how relative are their
functions within a certain context. The objects obtain and simultaneously
create new meanings, references and values established when one moves
further through the space and becomes aware of the mutual relations that
constitute this oor.
This project takes the pool game as direct reference to challenge the rules and pursuing spatial relations between objects whose original functions have been
changed trough a specic process. Lamas present a billiard table made in cement and 14 irregular balls molded in clay. The fragility and shape of the balls will
force the players to reconsider the rules and strategies during each match. The clash between the balls will break each other, deforming their own structure
but also the rules and the ways to face new challenges trough the limitations. With deformed balls and more and more fragments of them scattered around
the table, the players must reconsider their stokes and the prediction of their movements as part of the strategy. Mathematical, physical or geometrical
regulations, associated to this game nd new problems into complexity. The deformed balls (and their fragments) that have lost their initial features become
objects within a space, reformulating their dialogue with it and the other objects, creating a new game. The space then becomes in a place for reection, using
the uncertainty and indeterminacy as aspects that shape the physical world through chaos.
Dialogue table #1
[2015]
Without form or particular order
[2015]
First day
First day [process]
End of the rst day
Second day [process]
End of the second day
Third day [process]
End of the third day
To contain is not to possess
[2015]
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deathconcreteframefr
agilitytruthlightvisio
ncyclecolumnnaturec
ulturearticialluretra
pavoringtropicalexo
ticwildoverowintan
giblepackingcontain
menthardsoftwetdryi
mitationfakecopyliek
nowledgecaptureima
geobjectsubjectorgani
zationshapebeliefcont
ainerstatepotentiality
contingencyconstruct
ionscenarioborderor
derfaithcontentdebris
molddecayopposition
referencenetworkenvi
ronmentskinsurfacew
eightwearriskcollapse
fragmentationsedime
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uptureruinswithstand
The value of formlessness
[2014]
As if going back to the basic structure of the universe, to a Tohuwabohu of Space is divided, time indenite, and objects once fruits, spaghetti, stones,
precarious forms, aberrant shapes, ephemeral [or rather unpredictable, bones, or IKEA ready-to-made structures become objects of thought. While
capricious] compositions all descending from the idea of archetype Nicols amassed, correlated, they behave as words in a puzzle outcome of knowledge,
Lamas is walking us through a deconstructed microcosm, where domesticity calculus, and chance and Lamas is using them to prove that form can be
and wilderness coexist and eventually merge. overwritten, but never fully discharged of its cultural sediment.
A still life is unfolding in the gallery space. Hybrid objects align in a fake
alphabetical order, following an invisible rhythm. Trivial fruits of thesis and
antithesis, nature and culture, decay and manipulation, they ultimately
succumb to the poetics of form and fall into exotic afterlife.
(A) Notes and sketches on IKEA manual.
(C) IKEA basket structure, printed images, marble, foam, clay, fake shell, polished African sculpture,
rubber bands.
Each ball resembles the layers of sedimentation in some rocks -
dierent levels of information which provide details about the
nature of matter. Some of them have the appearance of gems,
stones, or bones eroded by time and environment. In other cases,
they appear as geometric syntheses used in mathematical studies
of some mineral forms. Nevertheless, they remain ludic and
ambiguous. This ambiguity or diculty in identifying them as
billiard balls is important, as the association with the game
shouldnt be immediate.
Once recognized, the balls make you think about the idea of
movement in a match, about the implicit geometry of each
stroke, or about the need for a strategy able to predict the path of
the balls within a space. Based on this idea, I want to raise a
constellation of deformed balls in the space of the gallery and
consequently investigate how these new shapes preclude the
prediction about motion or linear trajectory. None of them can
roll or follow a well-dened path. These balls that have lost their
initial features become objects within a space, reformulating their
dialogue with it,.
Polished billiard balls, sheet glass, fabric, plant, string, cardboard, metal, whiskey glass, marker pen.
Dimensions variable.
Homo ludens
[2014]
Setup I
Wood chessboard and ball made with sawdust of all the chess pieces.
40,5 x 40,5 x 9 cm
Billiard balls
16 polished phenolic balls.
Dimensions variable.
Line
Basketball.
45 cm
Dice
Inkjet print on cotton paper.
51 x 70 cm
Reference points
[2013]
Exploring dierent scientic elds such as astronomy or These shifts are an important part of the work process that Lamas develops, who sets up the
physics, Nicols Lamas formalizes his questioning using exhibition to establish an intimate conversation between each piece, giving the whole a
various media, playing on codes of demonstration, tremendous consistency. He creates a world crammed with possibilities, creating permanent
comparing objects which seem a priori to be opposites, interactions, ellipses, attractions and repulsions, inversions between horizontality and verticality,
to elicit meaning and drama. This investigation, incompatibilities between vacuum and matter, distortions of logic. From one piece to another,
sometimes taken to absurd lengths, undermines Lamas develops a meticulous network weaving a thread between each of them, which ultimately
measurement systems that govern our daily lives and enables a system to nd its own balance within imbalance.
literally challenges the exhibition space. An obvious
example is visible with Partial View. This work,
consisting of a rock and a scanner, highlights the
meeting of two heterogeneous elements, the relationship
between actual weight and the virtual weight of a
scanned image, the impossibility of understanding an
object if one only considers the surface of things. As in
many works, the artist opens up various issues here and
creates multiple opportunities for reading his works. Not
without humour, Lamas uses familiar objects, and either
reveals or misappropriates their inherent familiarity.
From the ping pong net which denes the
void (Boundary), to the golf ball which has passed
through the thickness of a wall (Alignment) or the
rubber die of a ball stuck under a oor board (Interaction
between two spaces) Lamas examines the energy
contained in familiar objects while removing their
intrinsic value. He destabilizes the visitor by changing
the meaning of many reference points: dice are used in
woven constellations (Constellations) or are sanded
down to a point where they become planets on a cutting
mat (Pebbles).
Measure
Wood folding ruler.
Dimensions variable.
Boundary
Ping pong net.
15 x 180 cm
Geometrization of the world Solidied space
Inkjet print on cotton paper. Inkjet print on cotton paper.
51 x 42 cm (framed) 71,5 x 51,5 cm (framed)
Constellations (III)
Inkjet print on cotton paper.
67 x 82 cm (framed)
Kg
Inkjet print on cotton paper + 1Kg dust ball.
66,5 x 48 cm (framed)
Technical drawing
Clay block.
19 x 37 x 7 cm
Alignment
Golf ball, hole on the wall.
4,3 cm
Ball
Three coupled tennis ball.
11 x 10 x 4,5 cm
Paradox
Inkjet print on cotton paper.
41,5 x 31,5 cm. (framed)
Pebbles 2
Polished dice, cutting matt, shelf, glass box.
30,5 x 46,5 cm (cutting mat)
Partial view
Rock, scanner.
Dimensions variable.
Fossils in colours
Book, photo.
19 x 12 cm
Part of something bigger
Aluminum frame, glass, carpet.
31 x 22 cm (frame)
Palabra de guerrillero
The poem Palabra de guerrillero by Javier Heraud is subjected to a systematic process of successive translations in 64 languages available in the Google translator. Each translation is the
basis for the next, transforming the original meaning of the poem, going from one language to another. This operation is repeated until the text is reduced to the minimal expression in the
language it was written. 21 x 15 x 6 cm (book)
Data entrpica
[2012]