𝑭𝒓𝒂𝒏𝒄𝒆𝒔𝒄𝒂 π‘·π’‚π’π’Žπ’‚ 𝑻𝒆𝒓𝒂𝒏

No todas las rocas son montaΓ±as

III Solo show, curated by Giada Lusardi, N.A.S,A,L (Gallery), Santana Loft, Guayaquil, Ecuador, 2023.

You should enter this exhibition as if you were entering a place of the spirit, a medieval cathedral or a mountain. It must be done alone, concentrated and slowly.

Palma lived more than half of his life in Italy and saw these sculptural images daily on his tours of the city. The chosen motifs are marked by their experiences between continents, between cultures and between landscapes, and their works arise from a deep introspective work, like that carried out by the migrant, who, in contact with the other, returns to the existential question: who am I?

Her artistic production thinks of languages ​​and languages ​​as tools of understanding and communication. The painted image of an angel in high relief expresses a kind of ambiguity, in this case gender, that enables the viewer’s involvement.

 The artist seeks the same effect when titling her works in english, as for example in My perceptual field is full of reflections (2023) or The languages ​​changes depending on strange conditions (2023). In this case, Palma looks for a language that, since it is neither Italian nor spanish, becomes more impersonal and functional, making her feel like another citizen of a globalized world. The image of the lion sculpture of the Cathedral of San Lorenzo in Genoa invites us to enter the exhibition with suspicion, it is a lion that cries and looks at us from above, its image is negativized to return to the feline vision and emphasize the difference between the ways of seeing things, that of the human being and that of the animal.

In her work, the human being is and is not there at the same time. There is her gaze, her gesture, her perception of landscapes, of natural elements, of light phenomena, or her spirituality embodied by the sculptures of Italian churches.

The artist is interested in the roughness and chiaroscuro effects that show the three-dimensionality of her rocks, pointed and full of textures. These reliefs become protagonists in her pictorial work and activate the perception of the expectants, diverse beings that Palma imagines as human and non-human.

Palma builds her work at the limit of consciousness, where, as Freud says, what is repressed always comes back to life and then blossoms on the skin, like the hand tattoos that occupy the center of the rooms, as in a psychedelic vision by fluorescent colors.

Giada Lusardi (Italy, 1984)

October, 2023