César Gabler Chilean, b. 1970

In my recent work, the history of Chile and Latin America coexists with visual culture and personal experience. The language I employ includes drawing, painting, and picto-installation. For instance, in 2013, I undertook the project "La Catedral del Mañana" (The Cathedral of Tomorrow). Drawing from my childhood memories, I reexamined a period of local history, approximately from '76 to '80, based on things that had resonated with me back then-things I, as an adult, could view with different eyes. My childhood time in front of the screen led me to Jerry Lewis and Dean Martin movies, Uncle Memo, the Military Junta, Ray Conniff, Jimmy Carter, Rex Humbard, Chacarillas-a combination owed simply to the detailed record of what I saw, heard, and sensed.

The arbitrariness of my memories-perhaps their irrelevance-served as a filter and a search engine. Since then, I have delved deeper into that logic. Starting from my personal experience or sustained interests and then establishing connections with history and how those events illuminate the present. Unforeseen connections, lucid chance. To do this, I work with written archives, books, magazines, and an extensive visual collection.

The plastic languages of illustrations, paintings, photographs, and drawings, and the ways to translate them, are substantial parts of my concerns. In this process, my role as an avid collector, frustrated storyteller, and enthusiastic visual artist converge.