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PALOMA BOSQUÊ
BEIJING CHINA WORLD 

"TOOTH/DENTE", 2019 CERAMIC

PALOMA BOSQUÊ (GARÇA, 1982) LIVES AND WORKS IN SÃO PAULO, BRASIL.
HER MOST RECENT SOLO EXHIBITIONS INCLUDE O OCO E A EMENDA, PAVILHÃO BRANCO, MUSEU DA CIDADE, LISBON, PORTUGAL (2017); FIELD, MENDES WOOD DM, SÃO PAULO, BRAZIL (2016); O INCÔMODO, PIVÔ, SÃO PAULO, BRAZIL (2015). ADDITIONALLY, HER WORK HAS BEEN INCLUDED IN INSTITUTIONAL GROUP EXHIBITIONS AS THE BIENAL DE COIMBRA, COIMBRA, PORTUGAL (2017); MYCORIAL THEATRE, PIVÔ, SÃO PAULO, BRAZIL (2016); PROJETO PIAUÍ, PIVÔ, SÃO PAULO, BRAZIL (2016); ROBERTO BURLE MARX: BRAZILIAN MODERNIST, THE JEWISH MUSEUM, NEW YORK, USA (2016); UNITED STATES OF LATIN AMERICA, MUSEUM OF CONTEMPORARY ART DETROIT, DETROIT, USA (2015).

PALOMA BOSQUÊ’S RESEARCH DRAWS LARGELY ON HER DAILY PRACTICE IN THE STUDIO. IN THIS ENVIRONMENT, SHE HANDLES AND FREELY ASSOCIATES MATERIALS THAT ARE NOT TYPICAL OF SCULPTURE, CREATING COMPOSITIONS OF VARYING FORMATS AND SCALES. IN A CONSTANT SEARCH FOR A POSSIBLE AND CONSENSUAL BALANCE BETWEEN HER SELECTED ELEMENTS, THE ARTIST OFTEN DEVELOPS SPECIFIC METHODS TO COMBINE, JUXTAPOSE AND MERGE MATERIALS WITHOUT EVER FORCING THEM TO A DEFINITIVE INTERACTION.
BRASS, FELT, BRONZE, COAL, PITCH, BEE’S WAX, BEEF CASING, CRAFT PAPER, COFFEE SIEVES AND WOOL ARE USED INDISCRIMINATELY. THE ARTIST IS LESS CONCERNED WITH BRASS, FELT, BRONZE, COAL, PITCH, BEE’S WAX, BEEF CASING, CRAFT PAPER, COFFEE SIEVES AND WOOL ARE USED INDISCRIMINATELY. THE ARTIST IS LESS CONCERNED WITH THE ORIGINS OR THE POTENTIAL SYMBOLIC VALUE OF EACH OF THE ITEMS THAN WITH THEIR PHYSICAL PRESENCE. EXPERIMENTING WITH THE TEXTURE, WEIGHT AND BALANCE OF HER MATERIALS, SHE CREATES AN EXTREMELY DELICATE VISUAL LANDSCAPE THAT, BY FRUSTRATING ANY ATTEMPT AT INTERPRETATION, IS HIGHLY INTRIGUING. EACH COMPOSITION IS A UNIQUE ARRANGEMENT OF MATERIALS. FELT AND LOOMS ARE HANDMADE AND TAILORED TO THE ARTIST’S CHOICES, COFFEE SIEVES BEAR THE SCARS USE AND TEAR AND NO TWO SHEEPSKINS ARE EVER THE SAME. BOSQUÊ FOCUSES ON THE TRANSIENCE OF MATTER AND IMPERMANENCE. HER USE OF TIME AND SPACE AND HER SCULPTURE VOCABULARY REMIND US OF THE FRAGILITY OF THE ARRANGEMENTS THAT SUSTAIN EVERYTHING WE CONSIDER PERMANENT OR FINAL.

 

BEIJING BEIJING CHAOYANG
NO.1 JIANGUOMEN WAI AVENUE
SHOP L102-103 L1
100020


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