Cecilia Brunson Projects is pleased to announce a solo presentation of new work by the Venezuelan artist Lucía Pizzani at ZonaMaco this February.
Transformation and metamorphosis are themes that recur continuously in Lucía Pizzani’s work. Working across a multitude of media (ceramics, photography, installation, performance and video) the artist interweaves historical narratives with the fundamental concepts of the body and gender.
In her new sculptural series, entitled Límbica¸ shown for the first time at ZONAMACO, the hard material of terracotta, itself loaded with cultural and historical references, is transformed into an organic, feminine form. In the same manner that the artist titles the work adding the female suffix to that adjective in Spanish, she feminizes the terracotta. The textured surfaces of the sculptures, whose pattern echoes the textures of skin, metamorphose her material, performing a type of gender alchemy. The title itself references the limbic brain. This is the part of the brain that governs emotions and basic impulses, such as sexual desire. This is the core of the body.
An accompanying series of photographs will be shown alongside these sculptures, again seen at ZONAMACO for the first time. Entitled Pieles (Skin), the images push this ambiguity further with the juxtaposition of the sculptures and the artist’s skin. The lines between the two become blurred and the sculptures, or vessels, become reincorporated into the body. Yet the contrast between the two materials is also crucial for the artist. While terracotta is a durable material, flesh and the body are not. The permanent nature of the sculptures stand in contrast to the impermanent nature of the body.
In the second series of photographs in this presentation entitled Sagrario (Sanctuary), the feminine vessel takes centre stage. Using the Nineteenth Century collodion process, the artist has made delicate images with the organic forms, both natural and fabricated, intertwining. The work is a hybrid of sculpture, performance and photography and, as with Him, engages with the idea of the butterfly and chrysalis on a number of levels. The collodion works recall the style of Victorian portraiture and suggests women on the verge of emerging. Him, another collodion work, is a pivotal work in this presentation. . The work is a homage to Loie Fuller, an American artist born in the mid Nineteenth Century who was a pioneer of modern dance and theatrical lighting techniques and at the centre of Art Nouveau in Paris. A self-portrait of the artist, with folds of fabric around her that echo Fuller’s butterfly dance imagery, the image shows Pizzani at the centre of her work, empowered and emerging.