Francisco Eme processes death and grief via a multimedia installation at Best Practice
“There was no right way to deal with grief, of course,” Ottessa Moshfegh writes in her new novel, “Lapvona.” “When God gives you more than you can tolerate, you turn to instinct. And instinct is a force beyond anyone’s control.”
“It was so beautiful with the fog, it’s almost like a ghostly image,” Eme recalls of the first time seeing the image, which had been taken in the 1970s. “I brought it home along with a few more images. Then, one day, it was foggy near my house because I live by a canyon. It just turned pure white and it was very beautiful. I had always taken images of foggy mornings ever since I moved here, and I just made this connection within the fog.
This is most clearly represented in “Se Quebró el Silencio” , one of the text-based drawings Eme made for the installation. From a distance, it looks simply like a drawing of the text, but if the viewer looks closer, the letters are actually made up of tiny, individual stamps of the word “ruido” , resulting in something of a hypnotic, two-dimensional display of sonic action.
This fascination with both sound and art began early for him. Born and raised in Mexico City, though he considers himself a proud Oaxaqueño, he grew up in an artistic family within what he calls a “bohemian ambience.” He began drawing when he was 6 years old and also began to play music on the multiple instruments that were around the house.
“I think I became a better artist because of my work at The Front,” Eme says. “I think I’m also good at what I do at The Front because I’m an artist. I’ve been on both sides. I’ve applied to galleries just like other artists, and I’m also receiving the applications, so that has been very enriching for both of my practices.”
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