Ixone Sádaba’s (Bilbao, 1977) work starts off the new programme of exhibitions at the Museo Nacional Centro de Arte Reina Sofía, entitled "Producciones". This programme is designed to develop projects specifically produced for the museum and carried out by artists whose career is beginning to come together, with the aim of stimulating and enhancing current creative activity.
Sádaba belongs to a new generation of artists who are defined by the technical image. They are creators of a new digitally constructed visual order, in which the images are far from the real referents. The artist proposes a staged world, of a virtual nature, which originates from and then expands an unprecedented system of narrative possibilities. Performance, installation and photography appear in his work as a means with which to artistically explore an introspective universe.
The series of photographs, Citerón (2002-2003) drew the attention of critics in her first exhibitions. Sádaba digitally manipulates the staging, which occurs in emblematic places, and creates chaos by placing the viewer in front of fictions that recreate their personal obsessions, by representing intimate conflicts and tensions and using her own body to do so. In the Phlegmoné series (2004), she represents three different actions, three rituals, where violence and Bacchanalian celebrations can be seen. The narrative structure becomes more complex by introducing sequentiality and different levels of overlapping narrative, allowing a variety of interchangeable interpretations.
With this new project, Sádaba has taken a step forward in her career, carrying out an important work of stripping and containment. Produced in New York, on abandoned stages on the outskirts of the city, the literary narrative is suspended after a moment of great visual eloquence, but in El bosque en llamas there are still echoes of symbolic narration, but so far from a theatrical dramatisation that it approaches cinematic language. It is about empty landscapes between two places that connect with the artist's mood and creativity. The human figure is not the main focus, they are on a stage they do not belong to, hovering on the fringes of the composition or cut into the edges of the stream. The large panoramic pieces have been fragmented in modular photographs creating a visual rhythm contrasting with frozen time. The idea of a definite and unique photo is rendered impossible, which leaves the photo open.