The Bubble’s art specialist Deirdre Malone visited photographer Jorge Miño in his studio to talk about his art, his fascination with architecture and his obsession with deconstructing a subject and rebuilding it in his own dream-like abstract form. He presented his book “Transversal,” hot off the press, in which Argentine writer Marcelo Cohen was given carte blanche to arrange and select texts for 100 chosen images, resulting in a beautifully bound project of art and literature.
Miño’s most recent work “geometrias derivadas” [derived geometries] formed part of Central Cultural Kirchner’s 2018 opening season alongside the Cartier Foundation’s “Les Visitants,” and his individual exhibits have included Palacio Duhau, Central Cultural Recoleta, as well as Miami, New York, and Santiago de Chile.
The absence of the human form within spaces whose original purpose was to facilitate our movement, such as escalators gives Miño’s spaces a life of their own; they can appear quiet, busy or at times, infinite. “Having someone inside the artwork would tell a different story that I don’t want present, as it will affect the viewer’s interaction with the image,” he commented.
The source of his photographic compositions is something Miño prefers not to reveal. Strongly influenced by cubism, where a single viewpoint is abandoned and simple geometric shapes are used to create a new perspective, he recommends that the viewer contemplates the abstract fictional form of his images in a rather than reflect on the origins of an Art Nouveau stairway or a Niemeyer structure.
When asked what advice he would give to young artists, Miño, who was born in Corrientes, recalls the privilege of having had acclaimed photographers Alberto Goldenstein and Alejandro Kuropatwa as teachers. While acknowledging the importance of his university studies, and the technical knowledge it provided, he says it does not compare to the enriching experience of studying under the guidance with artists in their studio.