Rafael Alfonso Pérez y Pérez

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.

While we understand the telluric as seismic, what is graphically depicted in the work called Dynamic forces, Pure intensities, addresses these vibrations, as well as other manifestations related to tellus, that is, the earth or the telluric; conformations of the landscape being reframed or reinterpreted are visible in Inverted Mountains, from the origin of land forms or Profiles, which represent the topography and landscape of the earth's crust with its folds.

Worth highlighting is the title piece of the exhibition, Surface Tension, whose name comes from the tangential force per unit length  which acts on the edge of a free surface of a liquid in equilibrium, and which tends to contract forming a cohesive exterior, such as the drops hanging from an edge; example of the research of physical phenomena which were reinterpreted sculpturally, as the piece is presented as a chandelier from which one hundred and thirty porcelain pieces hand in the way of stalactites or icicles, bringing to this natural phenomenon a poetry that comes to be perceived as an epistemological metaphor of the planet and its elements.

Gloria Carrasco understands matter as one of the pieces that makes up sculpture along with the space and the intangible, which has led her to produce “installed” parts, in which she wants to generate in the viewer a comprehensive appreciation at the sensory level; one example is the work called Sky-Ground Interface, to which she integrates sound, activated by a presence sensor, and which consists of fifteen discs, as a powerful visual representation of the natural electrostatic discharge known as lightning.

It is striking how she converts the graphic into three-dimensional and vice versa, without losing its sense of connectedness to that which is real and existing; this conversion of reality into a synthesis is manifested in Nature Interrupted, in which the artist recreates the mud after dehydration fragments it into plots, leaving cracks represented by a metal grating where mud becomes emptyness.

Likewise, she performs a synthesis of natural forms such as lakes and dunes, taking them to the minimum of their iconicity, to give them greater expressive power in the high-reliefs denominated Lost Waters and Landscapes of sand and wind.

And so, we can say that in this exhibition, this outstanding sculptor moves between ceramics and the use of other formal resources, through which she finds the balance of the form converted into sculpture, and ventures into installation as a means of three dimensional reflection between matter and space.