9 Nov
30 Nov

Ateneo de Málaga in the López de Villalta Chapel

Time goes by
Time goes by. I imagine my mother, Chapel, going down to the workshop of our house. When I lived there, we shared a repetitive and effective routine every day. The first one that arrived put the radio. After this gesture, a call to the work day, the other came and we began to accumulate our materials and stories about the tables.
The pieces in this exhibition are not part of a unitary project, but rather include works gestated during the last ten years. Temporary distance explains the formal and technical variations from one series to another, in which we appreciate different stages of production. The techniques used range from tempera to egg or oil, to inks and watercolor; noble materials are combined with other everyday ones. In spite of the diversity of the proposals, all the pieces are objects of small size and intimate character, that approach the book format or object poem. They respond to concerns that have always been present in the work of Chapel: the search for identity, the passage of time, the imposition of cultural stereotypes or the convergence of dream and reality.
The earliest works date back to 2008, are the most abstract and two-dimensional. In these pictures we distinguish stacked cubes with ultramarine, pink and celestial tones stained with gold. There appear manuscript texts of apparent solemnity, unreadable in the background. With clearly baroque winks, this series revolves around the deceptions that we have come to internalize by force of repeating, under the weight of what we want to believe that it is in front of what we see that it is.

The first sculpture.
The first sculpture of my mother that I remember was dedicated to me, when I was a child. It is a cushion with feathers that served to learn to fly in dreams. On the canvas, the image of a mermaid with many heads was printed; next to it, a handwritten text in pencil read "I dreamed I flew, I want to fly". This sculpture is a poem that contains the desire to share a wonderful individual experience, which speaks of a potential action in the future. The work of Chapel is innocent like this cushion that wishes, although without apparent pretension. It arises from the daily experiences, giving rise to pieces that are personal as well as universal, identifiable by all.

Figures and boxes.
In the last two years, the abstractions of the Chapel have been transformed into figurations. They follow the inertia of the inevitable, they flow with time and are transformed according to needs. Now the protagonists of these pieces are symbolic, they behave like allegories or social prototypes that we can all identify. The works speak of history and tradition, they interrogate us about what our own culture has transmitted to us. The figures continue to appear stacked, accompanied by texts that we can not understand, as was the case with abstract cubes. There is a turn towards the three-dimensional, with the frequent presence of objects in boxes. The elements are inserted inside the wooden frame; are
frames of the body presented in the style of the entomologist or the collector. They are fragmented and classified with posters, in an attempt to make sense of them. Organized in this way, the disintegrated or disappeared members present suffering and vulnerable attitudes. The humor notes separate them from the iconic to bring them closer to the everyday. Solemnity, in this sense, is a tool to subvert the icon, as it acts as a guarantee of truthfulness of what we see. Once he catches us in his appearance, the contradictions of the image reveal the deception.

Delia Boyano López de Villalta Simon Lee Gallery, London
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