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Mar Rojo, 2016. Felt and gold leaf, 67x270 cm

Mar Rojo, 2016. Felt and gold leaf, 67x270 cm

Mapa mundi, 2016. Limoges porcelain and gold leaf, 36 cm diameter

Mapa mundi, 2016. Limoges porcelain and gold leaf, 36 cm diameter

Mapa mundi, 2016. Limoges porcelain and gold leaf, 36 cm diameter

Mapa mundi, 2016. Limoges porcelain and gold leaf, 36 cm diameter

Mar Muerto, 2016. Felt, 100x180 cm

Mar Muerto, 2016. Felt, 100x180 cm

Bahía de Hong Kong, 2016. Limoges porcelain in black, 68x162 cm

Bahía de Hong Kong, 2016. Limoges porcelain in black, 68x162 cm

Bahía de Hong Kong, 2016. Ceramic and porcelain, 68x162 cm

Bahía de Hong Kong, 2016. Limoges porcelain, 68x162 cm

C, 2016. Installation of prism and light

C, 2016. Installation of prism and light

Mar Rojo, 2016. Felt and gold leaf, 67x270 cm
Mapa mundi, 2016. Limoges porcelain and gold leaf, 36 cm diameter
Mapa mundi, 2016. Limoges porcelain and gold leaf, 36 cm diameter
Mar Muerto, 2016. Felt, 100x180 cm
Bahía de Hong Kong, 2016. Limoges porcelain in black, 68x162 cm
Bahía de Hong Kong, 2016. Ceramic and porcelain, 68x162 cm
C, 2016. Installation of prism and light
  • Participating Artists: 

    Mercedes Lara

  • Date:  09.10.2016 - 11.05.2016

After a pictorial period in which her work already reflected a clear interest in lights not in the shadows, although these will serve to focus the viewer's attention in the first, Mercedes Lara began a period we might call postpictorial where the elements involved are others where the paint seems not to be enough before the discoverer effort that aims to find the way to move her concerns to the work.

An existential concern that has occupied the eastern and western philosophical thought since ever, the time/space relation. Somehow and at some point the work of Mercedes takes us back to the myth of Plato's cave in which both factors are definitely relativized to demonstrate how we perceive things very differently depending on when and where we are. Approach that has also been present throughout the history of art, especially since the authors Pablo Picasso, Paul Cezanne and Salvador Dalí ended with the classical conception of space and time, reformulating the idea of ​​the real as stable space or time.

The space in Mercedes Lara is a recurring element, almost obsessively so; Its incessant movement makes it amazingly flexible to her eyes. Its observation, its treatment, its mere consideration will be almost unapproachable without looking upon another element, the time. Both strongly interrelated, curiously versatile, strangely mutable, and surprisingly manipulable. However, the control we can pursue over these two factors is practically null.

And that's when the light comes up, from the first moment, as the thread to weave -sometimes literally- the subtle warp with which inspiration conspires.
Extrapolated but strangely coincidental, Albert Einstein developed his theory of relativity to incorporate C as a concept that explains the constant speed of light and concluded as space and time are independent variables of matter and thus relative.

The relativity of time and space is demonstrated by C.

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