![Photography, Delirio Exótico #14, Paloma Castello](https://media.artsper.com/artwork/2213487_1_s.jpg)
Delirio Exótico #14
Paloma Castello
Photography - 49.8 x 34.3 x 0.3 cm Photography - 19.6 x 13.5 x 0.1 inch
$1,500
Sculpture : acrylic, ceramic
50 x 34.3 x 34.3 cm 19.7 x 13.5 x 13.5 inch
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Type
Unique work
Signature
Hand-signed by artist
Authenticity
Sold with certificate of Authenticity from the artist
Invoice from the gallery
Medium
Sculpture: acrylic, ceramic
Dimensions cm • inch
50 x 34.3 x 34.3 cm 19.7 x 13.5 x 13.5 inch Height x Width x Depth
Display
The sculpture cannot be displayed outdoors
Artwork sold in perfect condition
Artwork location: Colombia
Gineco (Gynaecium) Two of the recurring themes in Paloma Castello's work converge again in Gineceo (Gynaeceum): an exquisite femininity and her fascination with the ancient world. However, far from the exoticism of her previous forays, on this occasion the encounter takes place in the domestic and everyday. Hence, surely, her ceramic experimentation: nine central pieces dedicated to a peculiar group of divine women. Conceptually, Paloma takes us inside the house. The portraits of her characters welcome us in the long corridor that leads to the women's room, the gynaikôn, from which this exhibition takes its name. Although the women are absent, their presence is manifested by the ceramic types that best represent them. We find amphoras, hydriai, kraters, a psykter (consecrated to Artemis) and a very special oinochoe (with the face of Calypso). Specialists have failed to agree on whether any essentially feminine ceramic utensils existed in the ancient world; however, all of the above were linked in a particular way to women, who were in charge of collecting water, were providers and caregivers, and in their dark interiors created and preserved life. Although women were often the protagonists in the decoration of these vessels, their perspective was completely absent; they were always represented in terms of a man, as daughters, wives, mothers, or widows. In Castello’s gynoecium, however, their faces, separated from their stories, have been placed at the center. This gynoecium celebrates a horizontal coexistence between the Olympian goddesses Artemis and Hera and the agrarian Ceres, the wild nymphs, the city-dwelling Hestia, and the fatal Calypso and Circe. Therefore, although the style of the ancient ceramic pieces is a reliable mechanism for their periodization, Castello’s women, newly immortalized in her vibrant vitrified painting, join together in an anachronistic continuum. The chromatic transfer is exquisite and surprising; in this show, the typical contrast between the red figures and the black ceramic in the materiality is carried out through the use of strong colors and silkscreen drawings. Paloma also avoids the cliché of placing femininity in the bathroom; there are no lekythos, alabastrons, or aryballos (containers for perfumes or ointments) here. Certainly, Paloma's Neoclassical is sober, measured, stylized, silent in its stridency. There are no crowd scenes, prolific decorations, or naturalist portrayals. Only a woman. White, red, black, and silver profiles emphasize the character’s features. Eclecticism that is chromatic, iconographic (ceramic, sculptural, numismatic), and even cultural (Greek and Roman) constructs a feminine gaze, outstandingly elegant, classical in the simplicity of its forms, neoclassical precisely in that it is through the eyes of women that the scene in this very particular gynaecium is revealed.
About the seller
The Art Design Project - Art Gallery • United States
Artsper seller since 2019
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Paloma Castello was born in 1988, Bogotá, Colombia.
I use my work to bring life or a different narrative to an object's past. I'm interested in playing with memory and relating it to the present, creating an atmosphere between reality and fiction. My family and social background have a powerful influence on my work. I grew up surrounded with objects and anecdotes inherited from my ancestors that inspire endless surreal stories. My work emerges from these experiences; they are evidence of my “auto-fiction".
"Paloma Castello presents to us a nostalgia-filled body of work. The collection represents the soul of her proposal: inherited objects discovered or found that have become the tip of the iceberg of her past. These are elements she collects, recollects and then classifies following a method that frames her anachronic attitude that proves as evidence of the youth of her art.
She also demonstrates that the experimentations on herself are common in an artist who's just beginning her career. Without a doubt, this resource, valid and true becomes the road that determines the experimental character of the author.
Castelloland works with objects whose uniqueness proves to be fundamental to the piece's narrative in each story because each piece reacts and happens through the word and object interaction. This series is composed by more than 30 small format photographs and the stories that are linked to them that sway between fiction and reality."
Text by Estefania Sokoloff.
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