Image above by Felix R Cid, (Left) Untitled .New York, Monegros Desert; (Right) Untitled (Sun). Copyright Felix R Cid.
A+E Studios has Felix R Cid first solo exhibition, "X" opened on February 5th, 2015.
Felix R Cid at the Opening at A+E Studios
Understanding photography as the most accurate medium to create fictions with an open narrative of infinite resolutions, Cid creates paradoxical images where the conventional values of intuition are exaggerated. Using processes based on accumulation, Cid’s works raise questions about where the image starts and ends. Simultaneously, the works embrace both far and close, big and small, reality and fiction, creating tensions between opposite poles of representation and perception. Cid constructs his images from materials he mostly finds in urban environments which then he alters in the studio, finally creating results that stimulates the confusion we all face when confronting reality.
Felix R Cid, (Left) Untitled (Ibiza, Madrid Goa) Digital Pigment Print. 43X64 inches; (Right) Untitled (Sydney, Zurich, Cataluña). Digital Pigment Print 43x57 inches. Copyright Felix R Cid.
From Romania to Australia, Cid traveled to 12 different countries and 3 continents to photograph in these events where he constantly photographed for days and nights. Once in the studio he used all the photographs to create a final and single picture. The photographs play with opposite ideas of representation. What at first resembles a dense abstract image, upon closer range, it transforms into an extremely detailed pictorial description of each individual.
Felix R Cid, (Left) Untitled (Portugal, Rumania, London, Formentera, ) Digital C Print. 71X100 inches; (Right) Untitled (Detroit). Digital C Print. 71X100 inches. Copyright Felix R Cid.
Felix R Cid, (Left) Untitled (Paris). Digital C Print. 60x81 inches; (Right) Untitled ( Ear ) Digital Pigment Print 16x23 inches. Copyright Felix R Cid.
A+E Studios on the opening day.
A +E Studios I 160 West Broadway, New York, NY I www.aestudiosny.com
All Opening images by Paul McLaren