Sculpture is not important

The artist thus incorporates the paternal figure in the process of gestation of these works to discuss the trade and its options, with the intention of subverting and parasitizing them. This dialogue and works, often in common between father and son, constitue the whole set of works where the artist proposes different approaches in relation to materials and techniques, and mainly to the idea of ​​sculpture. In the words of the artist “this project is a reunion with the family trade that I discarded to dedicate myself to the art”.

Throughout his career, Jordi Mitjà disables materials, radically changes his functions, completely distorts the roles of the spaces in which he exposes, in a constant and intuitive search that questions the very status of art and opens new routes.

By using different techniques and registers –sculpture, photography or video, for example– his work suggests the appropriation of different contexts that he takes via a high emotional complicity with his models and the starting points he chooses. He shows a complex work dynamic that concentrates its intensity in the production process and the negotiation time between the idea and the final resolution and that incorporates aspects such as intuition, trial, error or accident.