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Resurrecting only the skin, without the body that covers and belongs to it. Cristina Spinelli (Madrid, 1993) brings back to life the trimming of the drawing she made two years ago, with fire, on plasterboard walls, later repainted. The flourish burned into the wall was buried under the plastic paint; and now, the surfaces have been polished, the membranes have been torn from the plasterboard body and under the title of folus (aura) appear again like burnt clothes spread out on the floor. Like niches, like archaeological research plots. Archeology as scar.
Spinelli does not give up thinking about her artistic practice in terms of language. Plasterboard is important because it is a conjugation of different materials -paper, plaster, aluminum, fiberglass-. Intervening it, disintegrating it and recovering a language that had been hidden within means undoing a palimpsest and revealing a text that develops in an elliptical, umbelliferous way.
These skins stretched on the...More
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Press Release
Resurrecting only the skin, without the body that covers and belongs to it. Cristina Spinelli (Madrid, 1993) brings back to life the trimming of the drawing she made two years ago, with fire, on plasterboard walls, later repainted. The flourish burned into the wall was buried under the plastic paint; and now, the surfaces have been polished, the membranes have been torn from the plasterboard body and under the title of folus (aura) appear again like burnt clothes spread out on the floor. Like niches, like archaeological research plots. Archeology as scar.
Spinelli does not give up thinking about her artistic practice in terms of language. Plasterboard is important because it is a conjugation of different materials -paper, plaster, aluminum, fiberglass-. Intervening it, disintegrating it and recovering a language that had been hidden within means undoing a palimpsest and revealing a text that develops in an elliptical, umbelliferous way.
These skins stretched on the...More
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