El soplo del mundo
En El soplo del mundo, una serie de multinaturalezas de cerámica se despliega cual atlas imaginario.
Entidades de tierra y agua que pasaron por el calor del fuego para poder ser y estar en el tiempo, se reproducen como híbridos. Nacen de una arqueología de la memoria y de la sinestesia de vivencias, tanto en paisajes naturales como en paisajes urbanos.
Naturaleza y artificio se funden, disolviendo el pensamiento dicotómico habitual y heredado de la Modernidad donde se ven como opuestos.
Diversos ecosistemas con características propias que coexisten en la contemporaneidad dan vida a una Naturaleza Otra, una Nueva Naturaleza que nos atraviesa, desplazando la antigua idea de una única naturaleza idílica.
Nos fundimos con el mundo y el mundo se funde con nosotros, hay una interdependencia, en palabras de Emanuele Coccia “Vivir es: respirar y abrazar en el propio soplo toda la materia del mundo.”
Lucila Amatista
Text for La forma parlante (The speaking form) exhibition
In many conversations with the artist, I come up with this statement “I think a lot about my pieces, I reflect a lot on my work”. I rapidly infer the idea of depth in two aspects: one ideal and the other, physical.
Lucila Amatista is a ceramic artist; she makes small organic-shaped pieces. They clearly refer to living forms, and yes, to beings found deep in the oceans or to microorganisms.
She produces a lot, she is prolific, reproductive, if we choose to play with terms that represent what is natural. With her work, she presents herself as a collector, a classification specialist and an investigator of her own fantasy nature.
The artist’s loving bond with her beings is easy to grasp. Each of her pieces can be held with both hands. The color palette created by Lucila is not at all evident, which allows them to be attractive, fresh, full of life.
Many of her “organisms” show a persuasive hollowness, which is a metaphor of depth. They may hold Amatista’s secrets or sing like seashells. Convex shapes are also frequent in a multiplicity of extensions, such as corals that look like guardians of the depths. Both situations intertwine frequently and make our visual experience dynamic.
Her great use of morphology, so imaginative and in a kind size, undoubtedly produces these fictions. Fictions that stimulate your sense of touch. Once we see her art we want it for ourselves so we can create our own collection of this beautiful material and trade the secrets hidden in its poetical texture.
Olga Correa
Text for La forma parlante (The speaking form) exhibition.
MACSUR Museum of Contemporary Art of the South, Buenos Aires, Argentina.
2017