The Art of Memory: Samuel Sarmiento's "Relical Horn"

Samuel Sarmiento, a self-taught artist from Venezuela, explores the intersection of myth, memory, and material in his U.S. debut exhibition, "Relical Horn," at Andrew Edlin Gallery. Utilizing clay as his primary medium, Sarmiento's kiln-fired ceramic sculptures embody a rich tapestry of ancestral narratives and cross-cultural archetypes, drawing heavily from the oral traditions of his native Venezuelan Caribbean. His work serves as a vessel for collective memory, encapsulating the essence of human experience across time and cultures.

New York Observer

Sarmiento's artistic practice is deeply rooted in the idea that ceramics have historically functioned as containers of valuable resources. He recounts a Caribbean myth about the origins of clay, where humans, guided by the Goddess of the Forest, discovered the material to create vessels capable of storing water. This narrative underscores the transformative potential of clay, which Sarmiento manipulates to create intricate sculptures that reflect both personal and communal histories.

New York Observer

Central to Sarmiento's work is the recurring motif of the female figure, often associated with nature and healing. These figures, reminiscent of deities like Yemayá, symbolize protection and renewal, guiding humanity through chaotic times. Sarmiento emphasizes that his artistic exploration is not merely for exoticism but aims to exalt the human condition, connecting viewers with deeper, universal themes.

New York Observer

His sculptures function as artifacts of shared wisdom, helping individuals navigate their place in the cosmos. Sarmiento draws on the writings of French author Roger Caillois, who posits that natural elements like rocks and minerals can harbor memory. This perspective informs Sarmiento's belief that art can preserve and communicate essential truths about the human experience.

New York Observer

Sarmiento's work synthesizes diverse cultural references, from Jorge Luis Borges to Robert Smithson, creating a rich ecosystem of ideas. He aims to recontextualize archetypal symbols in a contemporary setting, demonstrating that despite the vast array of narratives available, humanity's core stories often share fundamental themes of life, death, and transformation.

New York Observer

His process involves a dynamic interplay between intuition and control, allowing unexpected results to emerge from the clay. This spontaneity mirrors the Surrealist practice of automatic writing, where the subconscious informs the artistic output. Sarmiento's sculptures, adorned with intricate engravings and figures, defy conventional categorization, presenting a flow of thought that transcends linguistic boundaries.

New York Observer

Sarmiento articulates his vision succinctly: “Through my artwork, I am seeking to create classics and objects capable of holding solutions or information for future generations.” He emphasizes the importance of recognizing the shared heritage of stories and myths that can guide humanity toward a more unified future.

New York Observer

Despite his innovative approach, Sarmiento faces challenges in gaining recognition within the contemporary art discourse. He notes that artists from the Caribbean and South America often struggle to find spaces where their languages are appreciated, rather than being relegated to exotic elements within a program.

New York Observer

• “One of the primary purposes of ceramics is containment,” — Samuel Sarmiento, Artist

New York Observer

• “Through this alchemy, an artwork can help humanity preserve what little wisdom we have left.” — Samuel Sarmiento, Artist

New York Observer

• “Never before have we lived in an age with more imaginary borders,” — Samuel Sarmiento, Artist

New York Observer

Samuel Sarmiento's "Relical Horn" not only showcases the beauty of ceramics but also serves as a profound commentary on the interconnectedness of human experience, urging viewers to reflect on their shared heritage and the narratives that shape our understanding of the world.

New York Observer