UNTIL SUNDAY 16/5
THE SHIP. University, 2
Things that have no name do not exist. I do, we have a word to designate the interruption of pregnancy, but when an abortion occurs, this one is silenced, it is hidden under the carpet due to a guilt that needs to be analyzed to disarm it. That is why we have to go further and affirm that what is not talked about does not exist either, and they tend to be issues that affect women, be it menstruation, menopause, endometriosis, infertility or postpartum depression. In order to knock down this wall made of taboo, raising the feminist maxim that "the personal is political", obstinate that the feminine is part of the public discourse, Paula Bonet has been speaking first-person about the pain of having an abortion for a few years, first in the book Rodents and now with painting representing fetuses, malformations and obscure grief. L’Elguila. This is a painting, not an opinion is made of large format paintings and polyptychs distributed in three parts: The inheritance, The flesh and the paint, each of which narrates a specific story and moment. The kind and figurative art attributed to the conventional beauty of the Bonet of the beginnings has resulted in dark expressionism of basic chromaticism, as if abstracted, made with brushes, thick brushes, spatulas and spray, which has suppressed any artifice to avoid the distraction of the senses. Pure art history, needed. In the second part of the sample, the artist reflects the anguish that appears after externalizing the pain of loss with rough works with aggressive strokes that renounce perfection, to the control and to the technical corsets. What free and brave artists can do when the path is too narrow for them. In the last section of the sample, the abstraction is total and white prevails, drawing a scene of light and peace. Paula Bonet looks head-on at the problems we women face in order to transform them into high-profile art and literature. AU
