Ana Prada (Zamora, 1965) leads us down the path which contemporary Spanish sculpture takes. In her work, manual labour is a process which constitutes a poetic act that transforms objects and materials extracted from everyday life (curlers, hair clips, baby bottle nipples, nylon stockings or plastic knives). In the words of teacher and art critic Estrella de Diego, these elements are "entities that expand with the appearance of objects, where things are instruments at the service of mechanics, of progression". The fourteen pieces in this exhibition are for projects designed in the past six years and illustrate the phenomenon of the poeticisation of objects, like in Gusano geométrico (1994), 20 costuras (1994) o Trenza azul (1994).
Estrella de Diego said that the artist uses "poor and seemingly banal, but symbolic materials to display the feminine universe," with which she composes new forms based on repetition and which create new meanings. From unorthodox and surprising associations (such as clay and a wooden spoon or nails and plastic straws) Prada creates a new order fraught with irony, which generates a very personal poetry. In her pieces, the simplicity of appearance contrasts with the complexity of newly created meanings.
The pieces are both sculptural devices and three-dimensional poetical projects. In most cases they are integrated directly into the wall, eliminating the notion of support or frame giving the exhibition space a sense of spontaneous occupation.
By its very genesis, the artist's work triggers a series of dichotomies derived from the exploration and subversion of the traditional principles of sculpture: figure/depth, object/space and fragility/consistency. Its construction process is based on appropriation and redefinition, causing aesthetic and symbolic tensions.
In Ana Prada’s case, the creative act involves in turn, a destruction of what has been produced, due to the will of the temporality of its parts and the ephemeral nature of some of the materials used. For this reason, part of the pieces shown in this exhibition at the Museo Reina Sofía, will be destroyed after its closure.
Reina Sofia Museum's Publications
3 June – 19 September 2022
Néstor Sanmiguel Diest
The Vicissitudes of the Automaton
18 May – 10 October 2022
Like the Ivy on the Wall
4 May – 5 September 2022
< Garden of Mixtures: Attempts to Make Place, 1995 -… >
Alejandra Riera (*)
8 April – 4 September 2022
Against the Extravagance of Desire
23 March – 29 August 2022
From Posada to Isotype, from Kollwitz to Catlett
Exchanges of Political Print Culture. Germany - Mexico 1900-1968
24 June - 14 October 2022
Chronicles of a Discourse
Galería Juana Mordó in Post-Francoist ArtMuestras documentales, Biblioteca y Centro de Documentación