The editorial categories are research topics that have guided researchers during the recovery phase and continue to be the impetus behind the Documents Project’s digital archive and the Critical Documents book series. Developed by the project’s Editorial Board, each of the teams analyzed this framework and adapted it to their local contexts in developing their research objectives and work plans during the Recovery Phase. Learn more on the Editorial Framework page.
The university professor Christiane Dimitriades studies the assemblages (“boxes”) by Gabriel Morera, analyzing the main features—such as their varied contents and three-dimensional nature—which make them so much more than simply painting and collage. In the author’s opinion, Morera cannot be pigeonholed into one particular movement or style. The article includes a biographical review that mentions the influence of his father, his travels, and his involvement in groups such as Sardio and El Techo de la Ballena.
Christiane Dimitriades (b. 1953) reviews the work of Gabriel Morera (b. 1933) in an essay that reflects widely held views concerning the forced pigeonholing that many artists endure, despite the fact that no artist can be identified with one style or another because unique, specific traits are precisely what enriches a work of art. Those traits are what help to create a break from everyday life. Though attempts have been made to link the Spanish-born Venezuelan artist to various movements (Informalism, Surrealism, Dadaism, and Pop art), the author points out that his assemblages are reminiscent of all those styles, yet each work is a unique blend of its own. She goes on to claim that his techniques are closer to alchemy than to traditional art practices. In order to better understand the artist’s nature (and therefore his creative idea) she provides a brief biographical sketch that mentions important events that have impacted him in some way. She reviews the work and discusses their autobiographical and literary qualities.