As in all collaborations, the primary question consisted in finding out how two such different entities could coexist without overlapping one another. In this case, the creative method of one of the authors, Yonamine, proved by being both disseminating and cumulative, to be the common understanding and their exercise consisted in its essence, of an acceptance of the other (in what they diverge).

In a recent exhibition, Sofia Pidwell presented a series of abstract drawings of organic forms, where detailed fractal images nature sometimes provides, stood out. If trying to establish a taxonomy, given the fractal nature of the drawings, we would place them in the stochastic group: even though they possess a pattern, the details do not replicate, they are indeterminate and originate in random facts. They are the result of chance, spontaneity and intuition.

Yonamine’s work has little or nothing to do with the abstract. However, his creative inspiration lies in intuition as main feature. Starting-off with an interpretation of the post-capitalist world, Yonamine built a random personal archive of images and symbols of the globalized mass media culture. Its composition, as seen on a wall full of different stories, comprises such themes as sporting events, logos and images – sometimes sexually explicit, sometimes political figures or cultural stereotypes – together with slogans, and others, subverting readings and meanings while they reorganize in an ironic reflection on contemporary artistic practice, out of line with the canons of the dominant culture.

In RE-MOVE we see an uncommon corpse in drawing, painting, collage as well as iconic and popular images and pictorial material. The language shows itself as a graphic statement on worked layers, corrected, added, removed or overlapping that show the result of complementarity or the excesses of the creative universe of the authors. A place that reason perceives but does not determine.

Natxo Checa, February 2014.