Paloma Bosquê
Drawing / Desenho, 2022
collage, artisanal paper, acrylic paint and colored pencil
21 x 29.7 cm (unframed)
8 1/4 x 11 3/4 in
8 1/4 x 11 3/4 in
This drawing is a study of a sculptural work, Arranjo cego - Ovo com torre | Blind Arrangement - Egg with tower. This work was exhibited in the 2018 exhibition...
This drawing is a study of a sculptural work, Arranjo cego - Ovo com torre | Blind Arrangement - Egg with tower. This work was exhibited in the 2018 exhibition Inventory at Mendes Wood DM, Brussels. It is impossible not to think about the mythical echoes of the employment of the egg, for example – the supreme symbol of fertility, among so many other symbolic connotations – but everything about Bosquê's practice conspires against immediate decoding. Her eggs are supporting structures, counterweights, and have the same value in the composition as less symbolic elements. There is a sense of distrust toward the definitions and categorizations that are inscribed in her work process. To Bosquê, the symbolic potential of the tripe is just as relevant as its durability and resistance as a raw material, for instance. In her most recent series, Blind Arrangements, Bosquê creates pairs of interdependent structures (such as a piece of ruffled pale-pink wool in an array of lead plates that were reutilized from other sculptures, a ball of beeswax with resin suspended by a rope made of collagen tripe, and piles of glued artisanal paper are supported on top of blocks of wax). Upon displaying these elements over a large common base at the center of the exhibit’s main room, Bosquê articulates a choreography of winding movements and delicate balances. Due to the structure’s stunted height (about 10 centimeters from the ground), visitors need to bend down to observe them in detail. In denying supremacy from the observer’s point of view, these sculptures gain a different type of autonomy, quite different from the solemnity of the sculpture set on a pedestal. They seem to breath, sway or glide freely across the space, as if they were challenging their sculptural condition or stricto-sensu status of a work of art. This subtle separation from the gallery floor does not aim to set the sculptures apart, but actually, to put it in relation, between themselves, and with the viewers.
This work was previously featured in the exhibitions:
Paper trails, d'Ouwe Kerke, Retranchement, Netherlands, 2023
Solo show, Karin Günther, Hamburg Until 28 June 2025
This work was previously featured in the exhibitions:
Paper trails, d'Ouwe Kerke, Retranchement, Netherlands, 2023
Solo show, Karin Günther, Hamburg Until 28 June 2025