One left, one right, and left, one right
To walk down the road; to feel the movement of your hips; to discover the sensation of enveloping the road with them… to grab onto a door handle, to take hold of it; to set your hand in a specific position and then take note of the real existence of a bone, that bone which is there and which we hadn’t really registered before.
Strange phenomena which make up the discourse that Julia Spínola deals with in her first solo exhibition. Movements, gestures and intercalated events. Corporeal experiments and mechanisms developed out of localised walks. Those carried out by Spínola over the past few months, repeating the route from her house to her studio. There and back. Paths full of ups and downs, and through which she has been giving shape to a working model which departs from the physical experimentation of the body’s movement, arriving at the construction of a solid language, now primarily focussed on sculpture, principally based on the approximation to a system of dualities, out of which all the pieces become divided into two halves, which are dealt with by the artist in different ways.
The road as a central axis, its two pavements as side margins, ups and downs as the dynamics of movement; the body as a unit, right and left forming a dislocated symmetry, left side, right side. All of this has led Julia Spínola towards the exploration of a dual language which constitutes the skeleton, the bones of her work, which now takes on certain peculiarities. Those that make up the tireless search for an improbable and ideal exercise from which the installations, the sculptural groups and papers making up this exhibition have taken shape: the possibility of dissociating the two sides of the body in order to simultaneously carry out two different actions, one with the left, one with the right.
In this way, all of the parts of the exhibition behave in the same fashion. The central installation is divided into two wooden boards painted in two shades of yellow, which refer to the colour of two types of apple, which have been scattered on the gallery floor in an expressive gesture on the part of the artist, consisting in moving one group of apples associated with one side of the plank, which corresponds to their colour, to the opposite side. The apples are thereby disturbed and the original connection is broken. This same system underpins the functioning of the sculptural group made up of 19 boxes whose insides are divided into two by a wedge which takes on the role of a sloping road, and in whose two halves, as if we were dealing with little locations, two different and opposing events take place through manual expressions, parts, balances and positions. That exchange in areas of influence, those zone of interference are also the ones hinted at by the papers, whose dividing and invisible central lines create two interchanged parts.
Yin and yang, the self and the other; ambiguous borders, alterations which, finally, project new readings and rhythms which end up irremediably shattering the original calculated division.