Opening: Monday 7th October, 7:00 p.m.
The painter first painted with brushes (part one), then with her hands (part two) and later on using the inclination of the ground (part three). The painter’s idea was to disappear in the painting. For this reason, in the works that were originally intended to be the end (part three) of this exhibition, her aim was that the white of the canvas would blend in with the white of the wall.
But this was years ago, when the painter still felt fear.
The eel that reaches Fundació Vila Casas now is a revised eel: the animal has already gone through its first mutation and now the artist does not seek to disappear. It is no longer the transparent willow leaf that instinctively crossed a whole ocean, swam up a river and buried itself in the mud so as not to feel anything.
Now the painter reaffirms herself, expresses her opinion, and tears the canvas if required. The painter even goes to the extent of becoming intoxicated with turpentine, something she is not proud of, but what are we going to do about it. The eel is flesh that crawls, taking advantage of the layer of mucous that envelopes it and the sliminess of the medium for glazing, on the surface of the linen fabrics which are up to four metres in length. She recuperates a figuration that coexists in harmony with the abstract works of the previous eel and also with the word, given that she rescues and places on the walls, alongside the canvases, segments of texts from the novel that goes by the same name, which was published by Anagrama in 2021.
The body that was abused and violated through sex and birth, abortion and blood, feels pleasure now as it becomes aware of itself. The recovered body raises up mirrors with its two hands and shines a light on the violences against women that have gone on for far too long. Then she pours litres of turpentine onto them. And strikes them down.
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