2017 | The landscape as a process: astonishment. The work of Gloria Carrasco

Two themes, two concepts so remote and recurrent, pottery and landscape, thanks to a kind of fusion of codes, are put by Carrasco in a different relationship, which renews the pretexts, the text and the context, thus favoring, also, the making a different subtext, that is, that set of nuances that do not respond to literality, that are not announced openly, that cannot be seen at first but are implicit in the work and are understandable or discernible to the competent viewer.

2016 | Out of the Labyrinth: Contemporary Mexican Ceramics

Gloria Carrasco trained as an architect, and her work often reveals the love of order that characterizes so many practitioners of that profession. For all the control and geometric precision in her art, however, there is also another strain, sometimes lyrical and sometimes grandly expressive. Carrasco always combines conceptual clarity with formal rigor, establishing what she has described as a “dynamic where the existential and the symbolic live together.”

2015 | Fragile Cities

Faced with this exhibition I imagine my city, not any city or a city in the abstract, but mine, where I live. I attempt to internalize it, feel it, with the stories shared as a community. Each street or park, every corner I have traveled, lived or felt carries an intellectual and emotional universe, which can be decomposed into thousands of threads of meaning. The city, in the work of Gloria Carrasco, is memory and identity built over time. The city is a small ceramic house. It is therefore everyone's house, our house.


2014 | Art Object - Metlapil

An emblematic case related to the use of a traditional sculptural material, as is clay, is presented by Gloria Carrasco, who weaves with her prolific poetic production one of the most committed poetics of ceramic sculpture. Carrasco re-edited in her installations and objects, the process of manipulating clay as a signifier material.

2014 | Fugitives of the metate

We are all a piece of the origin, born of a cut in the reef and then we leave, deserting the threshold without being able to actually surrender fully to it.

The metlapil is literally the son of the metate, the stem of the rock, an outbreak of the bone of the Earth, reserved for everyday and ancestral tasks. And the metlapil also wants to transcend its destiny.

2013 | Surface Tension

This exhibition explores, through sculpture, a series of events in which physical forces interact with the natural elements, creating shapes that are extrapolated to sculpture as a conceptual synthesis of their visual manifestation.

2011 | The earth is not flat

The work of Gloria Carrasco, which forms part of the exhibit “The earth is not flat” can be understood as a derivation of the artistic current known as Minimalism, especially the installations and ceramic objects produced serially in Jalapa’s Anthropology Museum within the setting of the Third International Colloquium of Ceramic Sculpture. However, contrary to the “cold” Minimalism of the sixties, the work of Gloria Carrasco is perceived as “warm”.  This warmth, within minimalism, has been operated with the technical instruments or with the strategies of ceramics.

2011 | The fugacity of the earth

Art call art through a chain of metaphors that draw the imaginarium of a human community through time, in its sensitive culture. This way, what we understand, with no commitments yet, as artistic tradition is established. I borrow the main idea of these lines from Catalan poet Carlos Barral, and I do it precisely related to the subject and for a reason that I find complementary; given that, in my understanding, it describes simply some of the cardinal motifs that overlap Gloria Carrasco´s recent work.

2009 | To live under a roof, an accomplishable yearning

May the reader imagine a difficult access house, suspended in midair, intangible because it is a house of the memory, or of that previous perception that resists to the wild sketching of a city, with no other destiny than that of sheltering more and more inhabitants; a city that is consumed by every new extension, where the word construction, fatally, must be attributed a dehumanizing synonym. Gloria is an architect and her conceptual and formal corpus is located in the Federal District as a reality devastated by its irregular growth.

2009 | Architecture in the sculptural work of Gloria Carrasco

Dedication and vocational devotion have been intertwined regularly in the life of Gloria Carrasco, to achieve the excellent handiwork of her pieces in high temperature ceramics, with slips, oxides and glazes, and in some of her creations, with the integration of elements in metal, wood, or acrylic.

With educated pictorial good taste, her work presents in this way examples or artistic sets of a simple and stark polychrome, with accused tonal tendency and undeniably plastic and visual beauty.

2009 | Gloria Carrasco and the urban art

The representation of urban art, as such, has become, lately, a subject used by countless visual artists of all ages, all styles, all possible techniques. This is a natural thing, since the artist feels the need to express or account for, most of the times, what surrounds, stimulates, and worries her: her beauties, her nature, her environment, her sorrows, her landscapes and never ending motifs that she perceives and transmits through her particular language.

2005 | Text for the Exhibit “Where memory lives”

¿What is memory? Memory is our refuge, which shelters the keys of our identity, the alphabet with which our history is written. In a rough, flurried present, of forced subjugation, of wear or loss of external referents, we have the obligation of preserving the internal referents: of searching, finding recovering ourselves. The best way is rescuing our essence.

2004 | The invisible cities

In 1975, Italo Calvino was an Italian writter who began to acquire fame in the demanding anglo-saxon world. An article by Gore Vidal in the New York Times
Magazine consecrated him next to our Jorge Luis Borges as one of the authors of a new fantastic-intellectual tradition in the West. Víctor Gollancz, an English literary editor, decided to present the Italian intellectual in the British Islands, with one of his most recent novels, which had been a huge success in Italy, France and Spain.