A step under Paloma Bosquê
Past exhibition
Overview
By taking back the urban hermits, Paloma Bosquê presents, in her first solo exhibition – A step under –, pieces she has been developing in the basement of her building throughout the years. Not so restrained in her iconography, like Lucas Arruda, she also seems to establish a dialogue with her own work, as if it, as well as the artist, were sufficient in themselves. Two loners in search for expression. It is during the act of work, for instance, while rolling a wire around a piece of wood, that questions such as gravity, scale, color etc. arouse. Paying attention to the relationship between her body and the sculpture she looks for in the found objects, she tries to plastically re-signify it by putting pieces that were loose in the world, ready for a possible discard, together. In this process, imagination tries to misrepresent values, shuffling what seems rare with what is excessive, as is the case of copper ribbons, which are only made of lurex, that can be found in popular stores. It is also possible to use rosin, which is a disposable resin, and suddenly it reappears in the sculptures as something overrated.
The tension of the wires and between what is visible and invisible, depending on the point of view of the spectator, also suggests the latency of pieces. Therefore, time is inbuilt in the piece, since the sculpture itself carries the small interval between the stimulus of a pulse and its consequence in time and space. It is a paradox, in a way, since these are kinetic but inert pieces, at the same time. The work by Paloma Bosquê expresses a magical phantasy, the alchemy of the fusion of objects that are found in the artist’s basement-atelier-laboratory.
Considering the unexpected encounter of these three artists of the same generation, but who are deep down absolutely independent in their creative and productive styles, we can see how the mediation of a gallery that proposes to articulate a program is all about. In this place, it is possible to measure the success of one of the most difficult journeys. Three artists and three vocabularies that are completely different, but somehow complementary, prove the diversity of aesthetic experiences in the generation that developed its aesthetic vocabulary throughout the 1990s and the 2000s. It does not take much to see the beauty in the appearance of a new generation. And for that, it all seems like celebration to me.
Zeitgeist. This is what gives me pleasure.
The tension of the wires and between what is visible and invisible, depending on the point of view of the spectator, also suggests the latency of pieces. Therefore, time is inbuilt in the piece, since the sculpture itself carries the small interval between the stimulus of a pulse and its consequence in time and space. It is a paradox, in a way, since these are kinetic but inert pieces, at the same time. The work by Paloma Bosquê expresses a magical phantasy, the alchemy of the fusion of objects that are found in the artist’s basement-atelier-laboratory.
Considering the unexpected encounter of these three artists of the same generation, but who are deep down absolutely independent in their creative and productive styles, we can see how the mediation of a gallery that proposes to articulate a program is all about. In this place, it is possible to measure the success of one of the most difficult journeys. Three artists and three vocabularies that are completely different, but somehow complementary, prove the diversity of aesthetic experiences in the generation that developed its aesthetic vocabulary throughout the 1990s and the 2000s. It does not take much to see the beauty in the appearance of a new generation. And for that, it all seems like celebration to me.
Zeitgeist. This is what gives me pleasure.
Works
Installation Views
