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BeCKy GUttIN

Born in Mexico city, Mexico
lives and works in san diego, usA

Central to Becky guttin’s artistic conception is the proximity, mingling, and ironic juxtaposition of pre-
industrial and industrials materials as metaphors for their co-existence in the real world. This idea not only
permeates her choice of materials and her aesthetic style, but also the complex social games that can be
played with perpetual variance. guttin has undertaken to confront and articulate precisely the contradictions
between so-called primitivism and modern industrialization. rather than being confrontational, however, these
works project a fusion, or hybridization, that employs the most recent philosophical terminologies of antithe-
tical materials and ideas. Her simple, beautifully articulated and encased squares, circles, ovals, rectangles,
and curves, set up both the dimensions and the controlling forms of her sculpture. guttin’s art signifies the
industrial destruction of living elements like a house, garden, bench, or water container, elements whose natu-
ral materials are doubtless sufficient in their own right. The geometry in her work is a controlling mental factor
as well as an aesthetic choice. Becky guttin is a classicist. she provides clear divisions and cleaned materials
even when they are industrial materials that were doubtless daubed with grease and dirt when found. she
cherishes the transparency of glass and plastic as well as the smooth surfaces of wooden objects. Her titles in
general are metaphoric, often poetic.
Dr. sHIFrA M. gOLdMAn, “an aesthetiCs oF ConFliCt’ Una estétiCa De ConFliCto,” BilingUal CatalogUe, BeCky gUttin,
trans. By Carlos roPa anD gaBriel santaMarina, long BeaCh, CaliF.: MUseUM oF latin aMeriCan art, sePteMBer 2000/JanUary
2001
ENCUENTrO COTIdIaNO, 2000 iron, Acrylic, root 42 x 34 x 11 cM / 16½ x 13½ x 4½ in. 
 HEaVY METal CONdOM, 2000 AluMiniuM, nAturAl leAves 24 x 8,5 x 8,5 cM / 9½ x 3½ x 3½ in

60 ARTaddiction