Sección Presente Futuro. Stand PF16
Holes and atmospheric pressure are too old
Solidary body sculptures. Old body landscape. Waste that weaves claiming its spark.
Encirclement, concavities, hoops and sphere. Tangle, rosebush, a stamped flower on a handkerchief. The same handkerchief knotted serves as a border to sweat. A lap that is rehearsed in different ways. Full, empty.
Pregnancy, explosion, dissemination, dust, stars. New bodies of old matter echo each other and in the interception of that message a poem is born. Poetry wants to get rid of matter but it is matter itself: knotted, carved, modeled, wet, fallen, broken.
Beauty can’t be separated from itself, it tries new ways, it turns, it twists.
Here are the same stones, with the same light moving air.
Elena Aitzkoa’s work is rooted mainly in the processes of sculpture and poetry, occasionally branching into performance and video; she also makes use of drawing and painting. Her practice combines a formal approach to carving and writing, punctuated by moments of contact with a specific ambit or public. At such times, she adopts hybrid, invented techniques to maximise contact with the public.
The practice of sculpture has been central to her production in recent years, a process that leads to the production of a single body that encompasses a heterogeneity, and also attempts to bring about a sometimes uneasy coexistence of different bodies in a single space. Aitzkoa works directly with the physical world, with constant recourse to her immediate surroundings from which she draws materials and experiences. The practice itself posits trial and error as an experiential form or technique that takes account of its own constitution and possible meanings. Her interest lies in making and how things are made, and from this, in desire, the power of poetics, destiny