Boiler Room. Alguien me acarició la espalda, me desperté antes de que pudiera mirarle a los ojos. Virginia Paradise

Press release/Dossier/Vídeo

 
 
Boiler Room.

Alguien me acarició la espalda, me desperté antes de que pudiera mirarle a los ojos. Virginia Paradise

 
 
Virginia Paradise. Alguien me acarició la espalda, me desperté antes de que pudiera mirarle a los ojos, 2023. Boiler Room. General view.
Virginia Paradise. S/t, 2023. Stoneware, acrylic spray, brass, amethyst. 36 x 25 x 22 cm.
Virginia Paradise. S/t, 2023. Black and white stoneware, leather, wood. 145 x 10 x 10 cm.
Virginia Paradise. Alguien me acarició la espalda, me desperté antes de que pudiera mirarle a los ojos, 2023. Boiler Room. General view.
Virginia Paradise. S/t, 2023. Stoneware, acrylic spray, glass, pewter. 49 x 53 x 53 cm.
Virginia Paradise. S/t, 2023. Black stoneware, enameled stoneware, rose quartz, amethyst, aventurine and citrine. 32 x 23 x 5 cm.
Virginia Paradise. Alguien me acarició la espalda, me desperté antes de que pudiera mirarle a los ojos, 2023. Boiler Room. General view.
Virginia Paradise. Alguien me acarició la espalda, me desperté antes de que pudiera mirarle a los ojos, 2023. Boiler Room. General view
Virginia Paradise. S/t, 2023. Black stoneware, wood, metal. 50 x 37 x 15 cm.
Virginia Paradise. S/t, 2023. Black and white stoneware. 34 x 17 x 10 cm.
Virginia Paradise. S/t, 2023. White enameled stoneware, beeswax. 23,5 x 34 x 11 cm.
Virginia Paradise. S/t, 2023. Stoneware, white engobe, aluminum. 97 x 15 x 25 cm.


 
 

Press release


Framed in our Boiler Room space, we are presenting work by Virginia Paradise, the youngest proposal in our current programme, an artist who returns to the gallery after having exhibited in our Open Call in 2017.
Largely grounded in ceramics, Paradise’s work follows a line of research in which she confronts the expression of the unconscious with the creative act. In fact, it is in the ductility of ceramic where she finds the means of giving shape to the symbolic elements that appear in her dreams.
In the exercise of trying to recall the fragments of fiction and reality that are blurred by night, the artist constructs a series of archetypes, redolent of universal patterns and images that somehow form part of the collective unconscious.
The sentence from which the exhibition takes its title is a description of one of those dreams and bears witness to what happens behind our backs in those mirages, what we perceive but never manage to see, the mystery it arouses and the always unfulfilled longing to reveal them.
In this sense of the search of vision, eyes are a predominant symbol throughout the whole project. Understood as doorways between the visible world and another intangible one, subject to the duality determined by light and darkness, black and white. This duality that appears can be alchemized by the presence of a third concept that allows us to triangulate the polarity. So, the artist introduces colour in the central pieces as a third disruptive element. And then the number 3 takes on a physical and symbolic dimension in these works and is also present in the structural framework of each piece. According to various beliefs and cultures, this number possesses a sacred character that can be found in all the probable explanations of the mysteries of the universe.
Here Virginia Paradise presents herself as the alchemist of her own dreams, materializing expressions of her spirit in a set of signs that guide her artmaking. She shows us hints of the enigmas of her vast inner world, allowing us to enter for one moment in this place that once only existed in those dreams, but now also exists in this room, to be explored and discovered by us.