Batzuk

Mar de Dios’ work is presented as a language removed from words and internalised discourse. The exhibition is comprised of pieces of ceramic, sculptures, and designs that are in dialogue with each other yet need no explanation. They are objects that tempt formal perfection, that attract it,  and change its representation at the same time. Forms that move away from what is certain, what is learned and expected, and reach out to the different, the accident, and the beauty of the unnamable. Presenting as indefinable or ambivalent could then be a strategy for living beyond the established; a way to avoid narrative frameworks or the Western need to rationalise uncertainties.

Batzuk seeks to expand the limits of what we know, imagine other possible fictions and representations, and invites us to reflect on other ways of producing thought. This last concept is itself connected with the conscious position of Mar de Dios to align herself with an origin, an artistic genealogy, a history, and the hands of those that shaped it. A memory of what was historically disregarded or domesticated. Clay, ceramic, decorative arts, what now seem to demand “another way of being in the world”. So, as a radical gesture before an audience with no time to stop, the exhibition Batzuk invites us to be, slow down the body, and activate another possible imagination. Silent yet radical gestures that make it possible to shift our gaze and enter into suspended judgement: a practice that invites lightness and a distraction from the dominant consciousness.