«Entre» [Between]

Eighteen years later, Pedro Tudela returns to the CAPC with an exhibition that confirms his unique position, already perfectly discernible, on the national contemporary creation scene.

Wandering, his work wisely flows between media that intersect manufacture and technology, materialized plasticity, and sound dematerialization. 

In grasping this work, it is fundamental to realize that its dialogue is not established within the disciplines it revisits – that is, its use of photography does not refer to a strictly representational and compositional value anchored in its tradition, just like how in sculpting and installation it always seeks to break away from their respective canons – because its methodology is closer to that of a compulsive collector of stimuli and concepts which originate different aesthetic situations.

Like only a few, Pedro Tudela knows that the epidermis of the proposals is a fundamental element in a first receptive moment, which is why his taste for the materials – wood, iron, leather, neon, paper, etc. – allows for a dialogue deepened in subsequent moments for two primary reasons: on one hand, because they establish a contiguity or friction relationship with the surrounding space; on the other because the sound dimension that often complements it ends up underlining an unusual sensory reading.

The reflection on the plastic dimensions of sound is of supplementary importance, precisely because it allows for the creation of a tense platform that unfolds upon the manipulated evidence from what the materials claim, or, at the opposite end, denies them literalness. Therefore, space is what clearly reclaims to be «entre» [between] things and meanings: the experience of real erasures and the discovery of that reality in a dimension coated in absurdity. 

In Tres-Pass, the receptive trespass imposes an immersion in the lining of simplified visuality, where the lived, felt, and interpreted experiences lead to a broadening of the multiple and unexpected possibilities of situating oneself in a deviant way on that subjectively constructed reality.

Pedro Tudela does not directly speak of lived loneliness, resistance, incommunicability, or incongruity, of the floating state of existence. However, just like spectral traces, everything manifests itself there, everything reverberates there.

Miguel von Hafe Pérez