When I quitted my last administrative job in order to work as a full-time artist, I realized that the new- gained freedom implied a great deal of responsibility.
Under no circumstance I wanted to abuse art for the sake of a personal liberation, which would have turned me into a cliché-artist (rebel and marginal).
On the contrary, I decided to stay in my own personal “petit-bourgeois” reality in order to deal with it from the inside, using the expertise acquired over the years.
That is why I have not stopped using the same tools and methods, similar to those of any office employee, working in a routine way and with routine as my major focus.
GAC 2011 Prize
Esthetically, my work shows clear references to the conceptual and minimal art of the 60s and 70s. In those years the dematerialization of the art object in the art world and the substitution of products by services in the business world occurred almost simultaneously…
Translating his administrative expertise to a creative context, Uriarte incorporates the quotidian tools and habitual methods surrounding the office environment into his artistic practice. His materials include Bic pens, Xerox machines, ink cartridges, and other office paraphernalia; his process is driven by routine and repetition…
Ignacio Uriarte review
The ubiquitous spreadsheet tool Microsoft Excel, perhaps soon facing its own obsolescence, has been used to create a number of digital prints. Such works oscillate between bureaucratic delight, the futility of the nine-to-five grind and the serial work of Sol LeWitt – being formulaic is the point. Yet, with The History of the Typewriter …, which tellingly culminates with the sounds of a machine from 1983, the year before the arrival of the first home computer with a graphical interface, Uriarte has created a work of new pathos, humour and complexity…
During his artistic training, he came into contact with the post-conceptual work of the Nineties by artists of the ilk of Liam Gillick, Martin Creed, Gabriel Orozco and the Spanish Ignasi Aballí, and through them, he connected with the work of the first-generation of conceptual artists. The mark left by them is undeniable and many of their strategies are unequalled, which can be seen in the dematerialisation, self-referentiality and the systems, repetitions or permutations inherent to artists including the early Robert Morris, Hanne Darboven or Dan Graham…