Pedro Friedeberg “ Manos pequeñas “
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Pedro Friedeberg
“ Manos pequeñas “
Giclée on paper.
Size 48x45 cm
2022.
Pedro Friedeberg (January 11, 1936 –) is a Mexican artist and designer known for his surrealist work filled with lines colors and ancient and religious symbols. His best known piece is the “Hand-Chair” a sculpture/chair designed for people to sit on the palm, using the fingers as back and arm rests. Friedeberg began studying as an architect but did not complete his studies as he began to draw designs against the conventional forms of the 1950s and even completely implausible ones such as houses with artichoke roofs. However, his work caught the attention of artist Mathias Goeritz who encouraged him to continue as an artist. Friedeberg became part of a group of surrealist artists in Mexico which included Leonora Carrington and Alice Rahon, who were irreverent, rejecting the social and political art which was dominant at the time. Friedeberg has had a lifelong reputation for being eccentric, and states that art is dead because nothing new is being produced.
“ Manos pequeñas “
Giclée on paper.
Size 48x45 cm
2022.
Pedro Friedeberg (January 11, 1936 –) is a Mexican artist and designer known for his surrealist work filled with lines colors and ancient and religious symbols. His best known piece is the “Hand-Chair” a sculpture/chair designed for people to sit on the palm, using the fingers as back and arm rests. Friedeberg began studying as an architect but did not complete his studies as he began to draw designs against the conventional forms of the 1950s and even completely implausible ones such as houses with artichoke roofs. However, his work caught the attention of artist Mathias Goeritz who encouraged him to continue as an artist. Friedeberg became part of a group of surrealist artists in Mexico which included Leonora Carrington and Alice Rahon, who were irreverent, rejecting the social and political art which was dominant at the time. Friedeberg has had a lifelong reputation for being eccentric, and states that art is dead because nothing new is being produced.
