「日陰で咲くFLOWER」

「日陰で咲くFLOWER」brings together a body of recent work while presenting a series of 12 medium-, small-, and large-format drawings, along with small porcelain sculptures.

The exhibition emerges from the contrast between the light–dark dichotomy, from anguish, its depths, and that which emanates from it. At its center, it presents the outcome of the project Introspection of the Oneiric.

“Introspection of the Oneiric” delves into the construction of femininity through the sacred imaginary and the fragmentation of identity that converges with the duality between the oneiric and the nightmare. Through expansive, intuitive, and meticulous drawing, the boundaries between the real and the unreal become blurred, unfolding an oneiric narrative in which the violent and the Edenic converge in fragmented bodies, gardens of vine-like entrails and thorns, girls, bones, feathered beasts, and constellations of symbols, where the boundaries between the dual are fractured and disappear.

This piece was produced over the course of one year, through eight-hour workdays. The support functions as a record and evidence of the passage of time, becoming a container for processes that juxtapose temporalities and states of the psyche, creating micro-dialogues and expanded narratives that fleetingly interconnect throughout the drawing. It consists of an 11 m × 60 cm roll and explores the Japanese techniques of sumi-e ink and the tradition of emakimono, illustrated narrative scrolls developed during the Heian period, considered one of the earliest forms of sequential art. In addition to its formal processes, this project draws upon the narrative, sequential, and symbolic nature inherent to emaki.

Part of the production was created during the artist’s residency at Courtyard Hiroo in Tokyo, Japan.