Sculptures
2011-2021
Paris, France
Different expressive means and a coherent plastic or sculptural discourse Ochoa has primarily expressed himself through ceramic, without leaving aside painting and drawing. Likewise, he has done urban interventions painting great murals in which he frequently integrates the accidental features of the mural to the work. In this way, besides the artistic intention in the work, the perilous action of time and environmental factors are also present. The artist becomes an entity that integrates itself with the environment for the creation of a plastic or sculptural fact.
In the “38 Salón de las artes del fuego” he receives the ACAF acknowledgement for his work “En la pobreza y en la riqueza” [“In poorness and in wealth”].
Cristóbal Ochoa was bestowed in 2009 the “Bolsa de Trabajo” Award, granted by the Ateneo de Valencia in the “36 Salón Nacional de las artes del fuego” [36 National Hall of the arts of fire] with his work “Ecdisis”.
“A piece that rescues the constructive and expressive possibilities of traditional ceramic. It represents a fantastic form comprised of three protuberances covered by a series of petals or continuous layers and in decreasing size. It recalls an unidentifiable organic form whose three bodies fall heavily over the piece that supports it. The whole piece is covered by greenish-matte glaze which reveals patches of coloration of the material or applications of slip in another color. It is a piece that rescues and underlines the ceramic trade committed to the pure form, with the expressive liberty and in clear disengagement with the utilitarian sense of conventional ceramic.”
Gabino Matos.
“Ceramic interests me precisely because it is a traditional means that relies on little participation with young artists. I seek to make it vulnerable by painting it with sprays, by intervening it with small wooden sticks or skewers and other materials, by employing techniques that break with the habitual. It is a form of resuming the tradition from a more contemporary vision”.
The Seduction – Rejection Duality
Ochoa is aware that the seduction-rejection duality is one of the underlying metaphors in his works. The spiny thorns inserted in the ceramic core, as well as other coarse textures that seem rough to the touch, are a clear illusion to the psychological defenses or armors that the contemporary man creates in order to conceal or to protect his inner self. His weaknesses and fears, and consequently to protect himself from the aggression resulting from an outer world that we do not control. In this same way, textures, colors and sinuosity of shapes, generally in the interior of the pieces, are used as elements of seduction that capture the observer in the eternal enchantment of the rejection-seduction duality.
The sculptural ceramic of Ochoa is populated by a concert of works with clear references to an imaginary marine fauna and flora. Likewise, the allusions to both masculine and feminine erotic anatomy are also common. Even though in some pieces it is difficult to achieve any affiliation with something known, the sensuality and sinuosity of the shapes are omnipresent elements. In some of his pieces the contraposition between a skin comprised of a series of scales or leathery textures is obvious, with or without pointed elements, and an interior that shows itself or it can be intuited as smooth and subtle, in its shape, color or texture.
“The marine shapes have submerged themselves in his psyche, which is why he makes use of the earth and fire to talk to us about water, of the deep sea; of the element symbolizing emotions and death, danger and creativity.”
Erika Ordosgoitti.
The artist deliberately invites the interaction or direct touch of the observer with the work, as we previously pointed out, the pieces seduce and intimidate in unison. As in all ensembles, there are singularities, some more seductive, others more intimidating. However, all of them can be felt in their own way. It is practically impossible to remain indifferent to any of Ochoa’s works.
“I generally look to represent aggressiveness and defense in my sculptures through prominent and sharp textures. In some of those sculptures I have developed holes or perforations, attempting to achieve the opposite sensation: passivity and vulnerability of the bodies, unprotected, penetrable to their interior. I seek to stop people for one second, take them out of their visual routine, envelop them for an instant in my imagination.”
C.O.
