See you on Thursday at 7pm at the opening of the exhibition “Material Sensible” by Blanca Casas Brullet.
From the beginning, the work of Blanca Casas Brullet (Mataró, 1973) has been nourished by images inscribed in the everyday language, the polysemy and the poetic load that hides in the interstices and in the passage from one language to another.
The rhetorical figures and the images of the language we invoke to give an account of the world permeate the artist’s gaze, always attentive to losses and false friends, to misunderstandings and to the poetic -and sometimes also ludic- potential of translation .
For some years now, the artist has questioned herself plastically about the moment of the appearance of the image, as well as its manufacturing process. He conceives, at the end of the day, the work of creation as the place where to develop a plastic language to try to “make sense” while “forming”. That is why the workshop, the work table, the blank page are the center of their exposure devices, as well as the overflows, wrinkles, holes and accidents that occur in the process of the plastic material in transformation.
We find, in the work of Blanca Casas, materials, means and processes used in a contradictory way in paradoxical proposals that put in question the essay, the attempt or the unfinished. Proposals that speak metonymically of work from the interrogation of its own consistency: the image appears to us as unstable, unfixed, in the form of uncertain and incipient objects.
Thus, the set of attempts and errors that inhabit the corners of the workshop, the crumpled papers that fill the paper mills, the sometimes costly assemblies of different materials, tell us about the work of plastic research itself. And is that despite the tendency to hide the error (in a world that would be effective), the drift and the trial, the accident and the unexpected are at the base of all learning and creation process, at the root same as the work, artistic or not.
In Material sensible, the interrogation on the fragmentary, the discontinuous or the unstable refers to the notion of precariousness. Her plastic exploration is situated in the suspension between two states, while, within her paradoxical logic, the artist appropriates construction materials on this occasion to ask herself how to resist and build from that uncertain space. The plastic forms and materials come into resonance with social, economic, political, historical situations, but without being an illustration of them.
It is, in short, an unhindered exploration of polysemy and analogy, composing with words, materials and forms, with displacements, losses and enrichments, the deviations and interrelationships of the translation of one discipline to the other, of a technique to another, from one medium to another.+info