Argentine artist Manuel Ameztoy takes possession of architectural interiors, from museums to hotels, and even natural environments, establishing a subtle presence through delicate cutouts, abstract patterns, and vivacious colors. Though these works gently disappear, like everything ephemeral, they might reappear in other locations. Ameztoy’s most recent work includes the site-specific installations Heart to Heart (Claridge Hotel, Miami, 2014), Eden (Faena Group, Miami, 2014), and Say It with Flowers (Bellerive Museum, Zürich, 2014), as well as works in New York and Milan; his shows have appeared in art centers, museums, and galleries throughout Argentina. He has also worked in set design, and since 2013, he has been part of Splash in Vitro, with Ernesto Arellano.
María Carolina Baulo: One thing that stands out in your work is the harmonious combination of diverse techniques. Close viewing reveals printmaking as a matrix that generates your various modules and patterns. How does this process work, when repetition seems to be a constant and systematic rule?
Manuel Ameztoy: I seek an organic development of forms based on geometric structures that gradually evolve. …see the entire article in the print version of December’s Sculpture magazine.