Five years after his last solo exhibition in Miami, Aramis Gutierrez presents a new body of work that stands contraposition from his last suite of empty dance studios, End Game Aesthetics, along with new furniture and exhibition design works by Jonathan Gonzalez.

Contrary to the architectural dance interiors of his last exhibition which posed a setting for a question to be answered by absence, these new works are full-bodied, fleshy compositions that intend to linger and arouse Dionysian day dreams like the figurative master works by Delacroix, Reubens and Courbet rather than be situated in a modern pornographic male gaze. In kind the objects and furniture by Gonzalez are suggestive of the human form and activated playful engagement. A reaction to sexuality less concerned with overt iconography, instead commenting on its subtle latent ubiquity. Participatory design objects, rendered in organic earthy greens, that stand alone within the exhibition and extend the works on the walls into physical, inhabitable space.

They are orgy paintings within verdant jungles and mysterious colloquial architecture whose sheer amount of nude flesh narrowly skirts indulgent opulence but delivers an unavoidable physicality to contend with. Their conversation is as much about the existential writhing and thrashing of bodies in confined space as it is painting or sex.

Staging the scenes with models, many of whom are his friends and peers and using otherworldly lighting, Gutierrez also imbues the frames with his penchant for B movies and the approach to image-making film employs. Orgy scenes in films are often riding a thin line between a mob-mentality of lust and death. Production of such scenes transforms bodies into compositional, operatic elements that indeed are not that far from both the art-historical and contemporary figure painters he cites. These succulent paintings inhabiting the clean, sleek environment of Gonzalez’ designs invite viewers to sit and watch.

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    Jonathan Gonzalez