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Exhibitions

Fine Mirrors. When the word becomes leaf

The Vila Casas Foundation. Espais Volart presents, until January 14, the exhibition 'Fina Miralles. From beyond time' curated by Maia Creus and Maria Lluïsa Faxedas

Fine Mirrors. When the word becomes leaf

Fine Mirrors. From beyond time it captures the most intimate and spiritual aspect of what was one of the pioneers of conceptual art. In this exhibition, which presents around three hundred practically unpublished works, the curators Maia Creus and Maria Lluïsa Faxedas show us a Mirrors connected to the cosmos, which perceives the imperceptible energies that articulate the harmonious existence of the whole.

From a cosmocentrism close to that of ancestral, primitive cultures, in which the human being was not the navel of the world but one more element of the continuous fluid of the universe, the artist becomes a kind of "medium" - to her he doesn't really like the word – which sensitively expresses what is prescribed to the forces of nature and which resonates in each of the elements that are part of it.

These pieces, made between 1984 and 1996, in a time of sought-after isolation and in which he felt the need to return to drawing and painting, are materialized in essential and subtle creations where white predominates in an oriental sense, as what a representation of the full space, completely, and where, using a single line, it visibly shapes the work, previously self-manifested. The links with writing are obvious, but they go beyond what we could imagine: little by little we discover how in Miralles the word becomes leaf, pen, river, sun, tree... in such a way that writing and plastic work become hard to separate In fact, this inseparable relationship is a constant throughout his career, which is exquisitely reflected in the publication Fina Miralles. Fertile words 1973-2017 , with which the pieces in the exhibition dialogue.

We could say, then, that the exhibition captures the organic evolution and culmination of that fusion of the body with nature that the artist began during what has been considered his "conceptual" period and of which actions form part as well known as Translations (1973) or Relations (1975). But, unlike these, as Creus explains, in the works from 1984 to 1996 "Miralles works on the margins of the art market and, therefore, from an absolute freedom that is very important for her, already that allows you to experience creativity from an interior space; from its own symbolic space", that is: in a state of total fusion with nature that goes beyond the body and also embraces the mind, so that, as the artist herself says, she can "open to the 'invisible, to be part of the universe'.

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