Artists
Pedro Tylerborn 1975, Uruguay
Pedro Tyler

“Measure what you can measure and what you can’t make it measureable.”

- Galileo

 

Uruguayan artist Pedro Tyler uses measuring systems to represent the western notion of rational thought.  He first began incorporating and manipulating rulers for his work in 2000. Creating structures and objects from rulers of varied materials—wood, metal, and plastic—Tyler questions the security we gain from measurement and precision.

 

Tyler studied art at Finis Terrae University in Santiago de Chile, graduating with a Bachelor of Arts in sculpture in 2001.  He makes work that explores literature and philosophy, pulling at “the tension between measure and freedom, between permanent and ephemeral…” Tyler is concerned with his own, and our collective uncertainty—in his work, he suggests that although rationalism provides a sense of structure, the world is ultimately irrational and immeasurable. In his first solo exhibition at Sicardi Gallery, Not Space Nor Time in 2012, Tyler included a poignant series of portraits; made by engraving on wooden rulers, the resulting portraits hauntingly depicted the faces of philosophers, writers, and artists who had committed suicide. Knives and scissors have provided a leitmotif for his work: Tyler returns frequently to the idea of cutting and shaping, as a way of making meaning.

 

Tyler’s works are represented in several major collections including the Juan Manuel Blanes Museum, Montevideo, Uruguay; the Contemporary Arts Space of the Uruguayan Ministry of Education and Culture, Montevideo, Uruguay; the Museum of Contemporary Art of Santa Crus de la Sierra, Santa Crus de la Sierra, Bolivia. He has had solo exhibitions at Centro Cultural Recoleta, Buenos Aires, Argentina; and the Museo de Arte del Tolima, Colombia, among other spaces.

 

Tyler lives and works in Santiago, Chile.

 

SELECTED SOLO EXHIBITIONS

2016: Breaking Sound, Contemporary Art Space, Montevideo, Uruguay 

2015: Extensa, Sicardi Gallery, Houston, TX, USA

2014: Extensa, Galería Isabel Aninat, Santiago de Chile, Chile

Pedro Tyler, Galería del Paseo, Punta del Este, Uruguay

2013: Inner Landscape, Centro Cultural de Recoleta, Buenos Aires, Argentina

The whole life, Lucia de la Puente Gallery, Lima, Peru

2012: Not space nor time, Sicardi Gallery, Houston, TX, USA

More than ever, Del Paseo Gallery, Punta del Este, Uruguay

2011: Own light, Isabel Aninat Gallery, Santiago, Chile

Sleepless project, CCU foundation, Santiago, Chile

2010: Intervention at 980 Gallery, Bogota, Colombia

2009: Everything counts, Art Museum of Tolima, Ibagué, Colombia

Lost garden, Uruguayan Culture and Education Ministry, Montevideo, Uruguay

Reap what you sow, Isabel Aninat Gallery, Santiago, Chile

2008: IN MEASURE 2, Isabel Aninat Gallery, Santiago, Chile

2005: Persevering, Balmaceda 1215 Gallery, Santiago, Chile

2004: And Rational, BECH Gallery, Santiago, Chile

Waiting it clears up, Goethe Institut, Montevideo, Uruguay

2003: IN MEASURE, Cabildo de Montevideo, Uruguay

 

Pedro Tyler's work has also been featured in numerous group exhibitions, including On Beauty and Sublime, Contemporary Art Museum, Bogotá, Colombia (2016); Human Scale, Contemporary Art Space, Montevideo, Uruguay (2015); Carry-on Baggage / Contemporary Migrations, Museum of Migrations, Montevideo, Uruguay (2012); Marked Pages III, Sicardi Gallery, Houston (2011); Loads of Luck! Ex Teresa Actual Art, Mexico City, Mexico (2006); Belongings, Museum of Contemporary Art, Montevideo, Uruguay (2004); Be Right Back, Cultural Center of Spain, Santiago, Chile (2003); and In Four Bodies, Experimental Art Center Perrera Arte, Santiago, Chile (2002).

 

SELECTED PUBLIC COLLECTIONS

Colección Compañía del Oriente, Montevideo, Uruguay

Espacio de Arte Contemporáneo, Montevideo, Uruguay

Fundación CCU, Santiago de Chile, Chile

Museo de Arte Contemporáneo de Santa Cruz de la Sierra, Bolivia

Museo Juan Manuel Blanes, Montevideo, Uruguay

The Museum of Fine Arts, Houston (MFAH), Houston, TX, USA

 

For full CV, please download the PDF below.

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