Fueled, Oasis, Fueled
Pedro Cera•Nov 07, 2024 — Dec 20, 2024
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Press release
This side of Paradise (dot dot dot)
Paradise is a slippery concept. One bound with connotations of enclosure yet excessive, leaking at the edges with symbols, tropes and narratives. Fueled, Oasis, Fueled expands on Mónica Mays’ interest in paradise as an ambivalent notion pervaded by semantics of finitude, and by extension of loss. For her first solo exhibition at Pedro Cera, the artist presents a series of sculptures and waxed canvases that posit the concept of paradise as a framework for the intertwining of a genealogy of historical domination with logics of desire, extraction and commodification.
A collection of intricate assemblages populates the two floors of the gallery’s Madrid location, climbing up the walls or restlessly oscillating in imbalance over their pedestals. Deprived of their function, those hybrids of industrial remnants are covered with funerary fabric, plaster, wax, tree resins, myrrh, damar and offcuts of...More
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Fueled, Oasis, Fueled
Pedro Cera•Nov 07, 2024 — Dec 20, 2024
Press release
This side of Paradise (dot dot dot)
Paradise is a slippery concept. One bound with connotations of enclosure yet excessive, leaking at the edges with symbols, tropes and narratives. Fueled, Oasis, Fueled expands on Mónica Mays’ interest in paradise as an ambivalent notion pervaded by semantics of finitude, and by extension of loss. For her first solo exhibition at Pedro Cera, the artist presents a series of sculptures and waxed canvases that posit the concept of paradise as a framework for the intertwining of a genealogy of historical domination with logics of desire, extraction and commodification.
A collection of intricate assemblages populates the two floors of the gallery’s Madrid location, climbing up the walls or restlessly oscillating in imbalance over their pedestals. Deprived of their function, those hybrids of industrial remnants are covered with funerary fabric, plaster, wax, tree resins, myrrh, damar and offcuts of...More
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