Adrift

The Harvest, 2019  wall : Poison Tree, 2019 
Installation view from the exhibition Ricardo Brey. Adrift, Museum De Domijnen, Sittard (NL), 2019
The Harvest, 2019 wall : Poison Tree, 2019
Installation view from the exhibition Ricardo Brey. Adrift, Museum De Domijnen, Sittard (NL), 2019
The Harvest, 2019  wall : Poison Tree, 2015 
Installation view from the exhibition Ricardo Brey. Adrift, Museum De Domijnen, Sittard (NL), 2019
The Harvest, 2019 wall : Poison Tree, 2015
Installation view from the exhibition Ricardo Brey. Adrift, Museum De Domijnen, Sittard (NL), 2019
The Harvest, 2019  wall : , 2019 
Installation view from the exhibition Ricardo Brey. Adrift, Museum De Domijnen, Sittard (NL), 2019
The Harvest, 2019 wall : , 2019
Installation view from the exhibition Ricardo Brey. Adrift, Museum De Domijnen, Sittard (NL), 2019
The Harvest, 2019  wall : Detachment, 2019 Installation view from the exhibition Ricardo Brey. Adrift, Museum De Domijnen, Sittard (NL), 2019
The Harvest, 2019 wall : Detachment, 2019 Installation view from the exhibition Ricardo Brey. Adrift, Museum De Domijnen, Sittard (NL), 2019
Waterproof, 2019; Detachment, 2019; Rustic Vessel, 2019; Western Canon, 2018
Installation view from the exhibition Ricardo Brey. Adrift, Museum De Domijnen, Sittard (NL), 2019
Waterproof, 2019; Detachment, 2019; Rustic Vessel, 2019; Western Canon, 2018
Installation view from the exhibition Ricardo Brey. Adrift, Museum De Domijnen, Sittard (NL), 2019
Rustic Vessel, 2019
Rustic Vessel, 2019
Árbol cortado y escombros
[Cut Tree and Debris], 2013–2014
Árbol cortado y escombros
[Cut Tree and Debris], 2013–2014
Latigazo [Whiplash], 2013–2015
Latigazo [Whiplash], 2013–2015
Rest Before Labour, 2014–2015 
left:Light Up, 2018 Installation view exh.  Ricardo Brey Adrift, Museum DeDomijnen, Sittard (NL), 2019
Rest Before Labour, 2014–2015
left:Light Up, 2018 Installation view exh. Ricardo Brey Adrift, Museum DeDomijnen, Sittard (NL), 2019
Light Up, 2018
Light Up, 2018
The Seed on the Moon, 2019
The Seed on the Moon, 2019
The Seed on the Moon, 2019
The Seed on the Moon, 2019
Every Life is a Fire: Boxes , 2009-ongoing . Installation view exh. Ricardo Brey.Adrift 
Gerhard Marcks Haus. Bremen, 2019
Every Life is a Fire: Boxes , 2009-ongoing . Installation view exh. Ricardo Brey.Adrift
Gerhard Marcks Haus. Bremen, 2019
Every Life is a Fire: Boxes , 2009-ongoing . Installation view exh. Ricardo Brey.Adrift 
Gerhard Marcks Haus. Bremen, 2019
Every Life is a Fire: Boxes , 2009-ongoing . Installation view exh. Ricardo Brey.Adrift
Gerhard Marcks Haus. Bremen, 2019
 Ongon, 2015, Left: Burning Bush/   Detachment / Unfinished Map, 2019 Inst view exh RB.Adrift Gerhard Marcks Haus. Bremen, 2019
Ongon, 2015, Left: Burning Bush/ Detachment / Unfinished Map, 2019 Inst view exh RB.Adrift Gerhard Marcks Haus. Bremen, 2019
Boxes,2009-2019 . Installation view from the exhibition Ricardo Brey.Adrift 
Gerhard Marcks Haus. Bremen, 2019
Boxes,2009-2019 . Installation view from the exhibition Ricardo Brey.Adrift
Gerhard Marcks Haus. Bremen, 2019
Inferno,2016
Inferno,2016
Reality, 2019
Reality, 2019
Blue Shade, 2019
Blue Shade, 2019
Stormclouds, 2017
Stormclouds, 2017
The Night the Clouds and the Darkness ,2016
The Night the Clouds and the Darkness ,2016
Seldom Blue, 2017
Seldom Blue, 2017
Roots, 2017
Roots, 2017
Scrub, 2018
Scrub, 2018

During a break, in which I wandered in a wheelchair for several months, I was forced to change my way of working. In this period, I began to think about the sentence "I am drifting around". 


As nothing comes alone, by coincidence, at that moment I read several scientific articles about vertical migration and zooplankton. Every day, zooplankton make their way to deep water in the morning and rise as the sunsets. This process, known as vertical migration, is carried out all over the world by marine and freshwater plankton alike.


So I assumed this drifting off as my new existential position, not forcing myself to reach a certain point as I had previously done in the projects that preceded this one.


Adrift picks up fragments that float in my memory, images that have no place in the rigid parameters of my previous work and in everything that happens near my center of interest and appropriates and digests it all like a giant jellyfish with enormous tentacles. This position also allows me to recycle ideas and elements of my previous works.


To a large extent, Adrift,  rather than a strict concept to define a specific project or work, is a state of consciousness (awareness). 


I hope, from this state, to create a "strand” with my work from which I can develop several visions of the same idea from different angles in both their realization and their interpretation.


                                                                                                                                                                                         R.B.