Mercedes Lara takes the water as a starting point and pretext. An imaginary flow that is diluted and that flood us as a superb spinning torrent from bank to bank in the courtyard of Regional Museum of Daimiel (Ciudad Real).
This unique representation of the water is usual to our artist: rhythm, life, light, movement and expiration. These parameters shake the hand of poetics language translated into a mature language of aspects which Lara controls perfectly as they are light, time and space, very regular in all her career. Space, time and light are inseparable in her projects but in this great spinning, detailed and very crafted workpiece the artist from Daimiel also relies on the changeable vibration of the strings to perform a waterfall which is constantly and beautifully reborning.
With this inexhaustible flow of water that drowns us in new sensations, it is a poetry dampen withfictitious verses to reach and disrupt our senses. This magical imaginary flow is a show without boundaries to create a waterfall of emotions. This time, once again, the symbolism is a game to the artist who tries to inundate us and even to make us to swim upstream. Mercedes forces in this way to an interpretive exercise that is consistent with what is just beautiful, in a passionate absent of sterile aesthetics of imposed clauses. This fantastic simulated stream is a bottomless waste to create a waterfall of interpretations that link with an unlimited aesthetics. It is an hydraulic torrent that captures all possible subjectivities in which gold color results a precious liquid.
The artist continues getting wet and getting us soaked while other aquatic realities with the two pieces that complete this intimate exhibition. In the first of them, she uses an industrial cloth to embroider a world map of red surface river that it could well be framed in their own land as our Azuer river but it does not have to be strictly that and it could transcribe random space or depression where water flows in any part of the world. It is without any pretensions the representation of an arbitrary waterway of a water area which flows in the land global map.
An area in an hydrological riff that seems a felt space made by Joseph Beuys. The second of the pieces completes this intervention with the use of limoges ceramic as support for imaginary rivers, magical tributaries or capricious lakes that go over six rounded planes as prodigious containers that accommodate these silhouetes in hydrological areas that can be defined as a detailed sequence of any grear river on earth.
Water as the beginning of eveything and of the life cylce flows in these three pieces in a precise summary of the peculiar calligraphy of Mercedes Lara that, once again, manages to communicate his intense inner river invaded and full of artistic emotions.
From 17th March to 17th April.
(Text by the curator of the exhibition: Jesús Sanchez-Mantero Gómez-Limón)