DANIELA ELBAHARA     ( Huichapan 1–1, Hipódromo, 06100, CDMX — Tuesday to Friday (By appointment only) – Press / appointments: danielaelbahara@gmail.com, @danielaelbahara )

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“Here I am, on the road again…, there I go, turn the page.”
– Bob Seger

Typically collaborating as Hardly Soft, Amber Cobb and Mario Zoots are exhibiting for their first time together, individually. The exhibition title Turn the Page is both figurative and literal. Metaphorically, to turn the page invites new opportunities for change and growth, acknowledging the situation one leaves behind them. The exhibition seeks to “turn the page” after a year of incalculable change due to the global pandemic, a shifting political administration and the jarring examination of systemic racism within the social fabric of the United States.

In the literal sense, collage artist Mario Zoots, creates his compositions using vintage magazines LIFE (en Español) and Arizona Highways, turning the pages of the publications to reveal compelling juxtapositions. He examines spirituality and a sense of exploration in his new works, looking to the landscape of the Southwest for inspiration. The work also marks a shift from paper-based collage to Zoots’ recent exploration with silk.

Sculptor Amber Cobb invites a new chapter in her process as she transitions from using materials such as silicone and mattresses to using plaster, epoxy clay and wood. Cobb’s previous work explored themes of sexuality while her recent works consider expressions of the body and recall the awkwardness of adolescence and the trivialities of a changing physicality. The semi-functional sculptures create a language in abstraction with 26 letter forms, similar to the English language. Within this particular exhibition, the sculptures spell out the word: ROLES, questioning our individual responsibilities within a state of sometimes inarticulate change. On their own, the pastel sculptures employ humor and play through physical articulation, with works such as Little Finger and Spurts. While the sculptures stand alone as works of art, they are also functional as furniture, and a call to the body as home.
Turn the Page invites the viewer into the exploration of new expression in a changed world, and an opportunity for both collective and individual change within the landscape we begin to pave as we emerge from a year of turbulent transitions.

Ricardo González
Apr 17 to Jun 5 2021

In Ricardo Gonzalez’s second solo show with the gallery he presents new large and medium scale paintings, made in New York City where he lives and works. Growing up in Mexico City and residing in New York City’s chinatown neighborhood for the last 20 years, Ricardo’s paintings always carry the mood and attitude of life in a big city. In this new collection of paintings the viewer is presented with larger than life solitary male and female figures, depictions of fruit that take on an animated presence and an image of a sinister black cat. The paintings are personal and fueled by the surrounding environment.

They seem to be painted with a rhythmic quickness, leaving the trace of temperament and expressionism along the way. These paintings are moody and charged with ambiguous narratives, that instead of aiming at a specific meaning, they evade one and become open to possibilities. Possibilities for the viewer to insert herself and experience the paintings viscerally and through the language of paint.

Most of these paintings go through various transformations from start to finish. The process is intuitive and open to opportunities, risk, and change of plans, like exploration guided by clues in the paint. The range of ideas that serve as starting points can be derived from a drawing that was made from a film, a part of another painting, or improvisation based on a composition or color scheme. The final image is not one that is preconceived but one that is found through painting.  “Frutos”, the title of the show, serves as a reference to this process.

Virtual tour:

Rodrigo Echeverría
Feb 20 to Apr 3 2021

In an early essay published in 1911, Mexican scholar Alfonso Reyes refers to the Greek chorus with these words:

The chorus works rhythmically, as a dynamic instrument through which […] the emotional charge accumulated in the depths of the mind explodes […] And this is the essential reason that the chorus is present at all events and even secret revelations: in order to know the drama and get in touch with it; to feel, to be moved, and to release […] the emotion […], the sorrow, the terror.*

*Reyes, Alfonso, 1996. “Las tres «Electras» del teatro ateniense”, in Obras completas. Vol. 1: Cuestiones estéticas, Fondo de Cultura Económica, Mexico City, page 30.

Painting is mute, it does not speak to us in words, rather it communicates to us from the origin of ideas, which are images: it is a direct communication. The eye transforms the image into thoughts and emotions. The gaze discovers the depth of existence, which is initially voiceless, and then — by necessity of thoughts — it generates words. A newborn cries after taking its first breath, seeing the madness and deformity of the world. Adulthood is the coding for all that deformity.

Clouds disintegrate into rain. Rain creates puddles. In clouds we imagine shapes and in puddles we see our reflection. Clouds are the mirror of the imagination. Puddles reflect our perversions. The paintings are both clouds and puddles. In clouds we find the freedom of imagination. Our enslaved problems are found in the puddle. In clouds we rest and in puddles we question. The cloud is the phenomenon, whilst the puddle reflects the sentient phenomenon: it is a dynamic of the internal and the external.

We are all some kind of tragic heroes and what unites us is the fundamental way of perceiving what surrounds us. We perceive the sun, light, shadow and matter, which are then encoded with different terms. Emotions and feelings arise, to finally arrive at what concerns every human being: morals and ethics.

The statement of this exhibition is that the works shown comprise a silent chorus of clouds and puddles, that invite the spectator, through the characters depicted in the paintings, to witness the spectacle of perceiving life.

Rodrigo Echeverría, Mexico City, February 2021

Virtual Tour: