Paloma de la Cruz

Paloma’s work insists on this point repeatedly. Her interventions with monumental ceramics transform architecture into landscape and body through a process of metamorphosis that turns the space into a sort of pulsating geography. Architecture occurs at the crossroads between the empirical and the rational, at that moment in which a body reveals its potential: during what a body can do when it meets another.

Her characteristic meshes of tiled ceramic fabric now transform the space into a wounded architecture that generates fluids. If metamorphosis is, as Canetti would predict, a human property that, by means of an illusion, fantasy or myth, exercises power over the other, for Paloma, the metamorphic (that which goes beyond form, in constant mutation) embodies one of the central ideas of her artistic practice. For her body of work is born from her own ability, as a creator, to make the most of contradictions. The contrast between flesh and ceramic, hole and enclosure, enamel and roughness, raw and delicate, liquid and dry not only provokes the obvious tensions in the space, but also alters the manners and movements of people.