Vicente Hirmas
Vicente Hirmas, 1995, Santiago, Chile.
He currently resides in Mallorca, Spain, and Hamburg, Germany.
His work, exhibited both individually and collectively in Europe and Latin America, has been recognized and acquired by collections such as Heroldian Art Concepts and featured in contemporary art publications like "Classic meets Contemporary".
He earned an MAFA with a focus on sculpture from the Hochschule für Bildende Künste Hamburg (2023) and received a scholarship from the prestigious Studienstifung des Deutschen Volkes.
Hirmas has participated in notable exhibitions such as "Invisible College" at Galerie Feinkunst Krüger (Hamburg), "Classic meets Contemporary" at Galerie Herold (Hamburg and Sylt), and Nit de l'Art in Mallorca, Spain.
His work has also been shown at institutions like the Deutsches Hygiene Museum (Dresden) and the Academy of Fine Arts (Munich).
His artistic practice emphasizes process, intertwining various manual production techniques to create a unique aesthetic that challenges contemporary art trends.
His patient, meticulous approach stands as a rebellion against a world characterized by speed and disposable consumption.
statement
My work explores traditional techniques and reevaluates the narratives associated with them.
I invest a great deal of time, patience, and dedication in creating my pieces, deliberately resisting a purely technical approach to production.
The attention and presence required for precise, often repetitive work shift the focus towards the artistic process, moving away from product - and results - centered thinking.
This patient, methodical manual labor establishes and reveals a form of embodied knowledge that connects thought and action, a connection lost in industrial manufacturing processes.
Through my work, I restore the emotional connections between objects and materials and their functions, returning their integrity.
In a world characterized by speed and disposable consumption, artistic creation through the reuse, recycling, and regeneration of materials becomes an act of rebellion.
My artistic practice centers on the process itself, incorporating various crafts such as carpentry, goldsmithing, sewing, painting, and restoration.
These crafts and the knowledge transmitted through them are part of a collective memory that is being lost.
By employing these production techniques, different aesthetics are intertwined, creating a unique fabric that challenges contemporary art trends with its distinctive visual language.
This is also reflected in the forms and contents used—ancient images and symbols (the snake, the egg, the double head, the ladder, etc.) that allude to prehistoric or ancient cultural history but are placed in new contexts, signifying a connection with the cosmos and a spiritual dimension rooted in a circular understanding that contradicts the linear historical perspective of the Western world.
Through the subjective creative process, the materials used, and thematic references, moments of imagination and perception are highlighted.
In this way, I constantly design and explore ways to establish a genuine connection between beings and their environment.