Eduardo Meissner
Engraver and painter who was awarded with the Municipal Art Prize of Concepción (1965). He was one of the founders of the School of Architecture at the Universidad del Bío Bío.
Eduardo Meissner
Synthesis is the theoretical framework of his work.
The artist Alejandro Vila’s new creative line is a project using diverse materials, especially the exercise of transforming metals into new structures in an apparent recycling process.

For this effect, he takes advantage of materials with fixed textures, special forms and configurations, and objects that when used in new functions either completely or partially radically changes their significance.

We can classify these plastic proposals into groups of different ways that they were made and what effect was achieved. For example, we could group them by zoo elements and anthropomorphous. The motives that stand out are the ones related to: eyes, fantasy and mythic animals, and anthropomorphic figures.

The ones that we classify as eyes present a phenomenon of characterization and putting them into a new context. Especially when you consider that integrated into their natural disposition is the formal plane of diverse makings, fictitious structures, and their heterodox textures that contribute to defining a game of associative connotations. This indicates an origin, an attributed function, and an attitude that the eye itself has of a determined person.

The eye, that is to say, does not only individualize the person, instead his/her profession and connection and perhaps his/her own character or the absurdity of his/her condition. So, for example, the eye called “soldier” has the upper eyelid converted into a war helmet provided by its metal mesh mimicry.

A counterfeit coin in the place of a tear and a little five-point star at the base of the extended lower eyelid completes the significance of the attributes. The connotative game of the elements in question reminds us of the semantic use that  Hausner gave war elements their corresponding characterizations.  The circumstantial observer will interpret the isolated signs in the special framework to which they correspond.

The eye object called “Smoking” has  two rigid wings emerging from the eyelids that are reminiscent of the stiffness of a shirt of an elegant suit. The location that would be the iris is filled by a rough device that channel tie pearls and fantasy pins. More formal characteristics are not needed to establish the association or connection between the observing eye and the distinguished character that does his own.

The structural transformations create the conditions for a notable and incisive metamorphosis. Other ocular specimens present a fertile field to the heterogeneousness of surprising significances and singular impressions. We observe sclera converted mesh structures, irises converted into brilliant hollows,  repetition of china boxes in ovals, incisive metal eyelashes in macro proportions, limited in occasions to only eyelid, held up in others to aggressively outline the transfigured split. An attentive observation would recognize the diverse functions that show a universal changing of attitudes, cataracts, and visual aggressions.

In his collection we see that the presence of the sculptural object called the crocodile is emphasized. The heterogeneity of the objects between the joints shape the totality and pay tribute to the ingenuity of the creator. Metal teapots are fused together to create a long middle section while their spouts are converted into the four legs. The imaginary animal spine is shaped from a texture of molded glass from whose central area emerges mystic dinosaur scales. The superimposed eyes show an abnormal and insidious protrusion and the elongated mouth shows upper and lower teeth blocked with latent aggression. The given structures have found a new function in total, contributing  to the apparent ferocity of the beast.

A swordfish is something further out there, with enormous caudal fins and threatening open jaws, which he surrounds with reticular textured metal showing insidious eyes, unfurled antennas, and the bellicose disposition of his ancestors.

A “quirquincho”, as the artist calls it, crouches, limited to a spherical cover of a metallic portfolio singular to the upper handlebars allowing the splitting of its body in the functional hollow. Again, the teapot spots occupy the spot of the reptilian legs of the quirquincho homeomorphous of multiple functions. Elongated jaws and descendent caudal fins complete the symmetry and the new disposition.

Heterogeneity of the metallic materials celebrates triumph in his metamorphic integration into the figure that the artist called “El Principito” (The Little Prince). With curled wirehair, fixed crystal ball eyes, corrugated nose, extended metallic smile, configure a facial expression not exempt of ingenuity, appropriate for a prince. This figure is full of excessively decadent accessories of the time period: walking stick with a royal handle, pocket watches with fine chains, protective overcoats, necklaces of raised aluminum, a copper tie in whose small ring there is an iridescent sun that could be interpreted as a symbol of his particular nobility and chivalry.

We applaud the ingenuity and the constructive and integrative ability of Vila, a copper and steel artist, whose new polymorphic structures change one teapot into an armadillo and 4 teapots into the belly of a crocodile.