These sculptures suppose a conception and praxis of sculpture that is different to the one we are used to seeing in volumetric tradition. To begin with, the sculpture does not rest on a base; then, there is a production strategy based on two material axes, which differ in nature but have the same goal in the finished sculpture; the components that make up her work have rigorous dimensions and are assembled in a constructive manner. Industry is fundamental, with steel profiles, mirrors, staircases and windows, as well as the incorporation of natural materials such as stones, sand or quartz, that extend nature, as if wanting to reconcile nature a thousand times intervened and degraded, with a humane sculpture that will not destroy its vital creativity.

The Mesa de Silencio (Table of Silence), in my point of view, is proposed as a ritual space that reedits the volumes of an undeniable contemporary feel, the magical and revered ancient relationship between it and humanity. Let us recall Mayan pyramids, conceived and produced with undeniable geometric rigour, incredible constructive precision to give birth to a new space in natural space, both cohabiting in harmonious equilibrium.

If in some sculptures there is a domination of industrial material, in others the approach to nature is completely direct and provides the totality of the material for her sculptural work. In Tectum Arcanus or in Ayllo, there is a clear attraction for wood, for its sensuality and texture. There is clearly an impetus surfacing of the manual work in the process of roughing down the wood, drilling, joining and sanding.

The title of her exhibition is in Latin “IN ILLUD TEMPUS”, and the denominations for each one of the sculptures has its reason for being. Nowadays, we say that Latin is a “dead language”, alien to everyday speech and historically frozen.

Why then, is it that the exhibition and the sculptures are in Latin? Because there is a conscious search on the part of the artist to delve into the origins; Latin is the root of, and the beginning point of many languages, such as Spanish, Portuguese or French. Placing oneself in that linguistic principle is imagining that nature’s presence is not contaminated, the first image and the first contemplation incarnated in these structures and volumetric forms that become the archetypes of all architecture.

MILAN IVELIC
DIRECTOR
MUSEO NACIONAL DE BELLAS ARTES