Abraham Cruzvillegas is a sculptor best known for his vast, improvised installations, called autoconstrucciónes, made of objects salvaged from urban life—rebar, distressed wood, old bicycles, discarded clothing, rusted shopping carts, found paper.
Born in Mexico City in 1968, Cruzvillegas has attained an international reputation, as evidenced by his 2015 commission Empty Lot for the Tate Turbine Hall—a huge raised platform of angular wooden plant beds filled with crumbled soil gathered from London parks. The planters were watered and warmed by the artist’s hand-made lamps, and though no seeds were intentionally sown, plants sprouted, supporting the artist’s optimistic message of “chance, change and hope.”1
Working with Mixografia in Los Angeles this past year, Cruzvillegas created another a new work, featuring what appear to be two crumpled 50 peso bills. (The real bills are now out of circulation: these are facsimiles constructed using the Mixografia process.)