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Established in 1996, Guerra de la Paz is the composite name of the Miami-based creative team of Alain Guerra and Neraldo de la Paz. Their exhibition, Green Zone, is on view until March 22 at Daneyal Mahmood Gallery in New York.
Guerra de la Paz, Crawl, 2004. Courtesy of the Artists.War is in our nature. The innate presence of self-preservation is everywhere. It guides us through life and causes us to stamp out all things that threaten the sense of security we require to live in peace. Like peace, there has always been war. In fact, it has proved itself a key element in the cyclical pattern that has shaped humanity. Acts of violence have been major turning points in history. From world wars to revolutions, and individual assassinations to random acts of terrorism, violence has been responsible for reshaping societies and causing empires to rise and fall. It is a force that changes our personal perspectives on what is right and wrong, acceptable and not.
A recent body of our work studies human behavior and explores the psychological implications that arise in times of conflict. We investigate how war affects people on a personal level. Using inanimate objects that everyone can identify with, we revisit and reinterpret classic icons to conjure a range of complex emotions. Though the imagery is very direct, each piece has numerous underlying meanings.We are fueled by the materials we collect, mostly objects of mass consumption discarded by previous owners. We have collected camouflage and action figures for years. Each item we acquire becomes another component of our Camo and Joes series. The imagery in these bodies of work reflects current global issues and historic events. Both series explore the essence of the identity of the soldier, a persona that has been both glorified and demonized throughout time. We have developed a storyline that captures intimate moments of both empowerment and vulnerability. The objects begin to take on a life of their own as a sense of familiarity fades, and confusion and uncertainty take over.
Classical sculpture is the basis for our Camo series. It is an inspiration to us and its influence is always present in the gestural poses of our figures. We use recycled uniforms once worn by soldiers themselves. Many of these uniforms still carry the names and ranks of the soldiers who once wore them on their pockets and sleeves, these men’s faceless identities randomly surfacing into our awareness as we rummage through mounds of clothing at rag businesses. Ironically, such uniforms lay alongside trendy camouflaged pieces intended as fashion items for civilians.
In the Joes series, we manipulate toys that embody flawless physiques, exemplify virility, and are heroic symbols to many. We position them into controversial vignettes that prompt viewers to become more aware of the acts they are performing than the characters they are embodying. Compromising circumstances representing the clashes between the laws of nature and the laws of man offset these characters’ virtues. Such scenes simulate situations in which questions of morality and tradition are challenged.
