Brooklyn, New York
March 13, 2020 - Holes, hands, finding, touching, replacing.
A matter of time, maybe too long has gone by. To refresh my eyes with the photos that I’ve taken of Gabriela’s work has lent way to a new interpretation. Yes, bodily, indeed womblike, it’s easy to associate the matter of her work with the human figure.
Here I propose a new understanding of my initial offerings. As I flip through the images again, I see holes, hollowness, and touch. Where the hollowness isn’t a sign of emptiness, but of intent. From the porcelain pieces to the collages, the act of carving out, bending, and curving, are all a depiction of filling or creating these objects that hold space.
At first glance, a little sad and ugly, but very much human, these porcelain objects are kneaded, pin rolled like flatbread, and demanded to stand up. Some don’t make it, unpredictable and capricious, they all have their unique personalities. Each, stands in their own sloppy hollow way, that gives them so much character, personified through Gabriela’s construction.
Here is where I fill in the blanks. Stringing you guys along for an abstract dissection. The porcelains stand almost like a direct depiction of the collages. Where the sculptures seem like the womb, and the collages seem like the act of filling the womb. The two sets of work, disparate at a glance, but closely tied. All coming together from the same vision, translating and flowing between materiality. Filling in the holes.
Photos taken by Cookin' Up Magazine, November 2019
Artwork images courtesy of the artist