As lonely and vulnerable as possible.
I am here, ready, once again.
Stronger than ever.
When we meet the work of Parrhesia,
we see what we don’t see.
The series of works that Pol Parrhesia has developed in the last years speak mostly about conditions that contain dualities. Absence, power and identity are the dominant subjects in her installations and performances. These subjects are hidden in every stage of her work. The performances by Pol Parrhesia become artifacts that reveal the antagonistic image of what we really see. Not showing by showing is the game Pol Parrhesia likes to play with us. The potential of simple and concise presentations allows Pol to open an internal discussion on the poetics of being, and the idea of being and not being alone. Of course to reach an idea like this one, the art by Pol has taken several steps, so we should recall some of her works to explain the evolution. Lets look at her early sculpture works, the wire and the ball. The wire is a simple wire cloud that at first sight just hugs the light of the sealing in the gallery. When you look closer, you see traces of humanoid shapes in the wire, so the body is there, but faded away. In her next action, the wire is no longer important, and the shadow becomes the main part of the piece. The idea is to be there but not in the obvious form.
In her city works, crossovers of performance and ritual, Pol explores fragility with humor. In the ball piece, both a sculpture and an action work, Pol takes herself the form of the ball, she is there in the city, trans-mutant and invisible, very light in the idea, heavy and static in the real. If you kick her, you will learn your lesson. The poem remains open. In her online portrait series, she presents herself with pictures of her mother. You see Pol, but she is not there. We meet a mature Pol, as a premonition. In the last years there has been a transition in her works from object based ideas to pure performative pieces. Instead of defining an object, the definition is hidden in the action. The recurrent use of mirrors, and holes in walls and doors, that nvite the viewer to focus on himself has expanded the catalogue of situations by the use of minimal elements. Pol needs almost nothing to make us meet ourselves. When she walks with a mirror, the reflection of the mirror is her camera that includes you in realtime. You are here, with me. Her latest action piece, using the streets as canvas for her performative exercises, allow Pol Parrhesia to explore her own relationship with the visible powers of the city and the invisible feelings of loneliness with others. A highly emotional moment both for her and for her audience. Pol becomes visible by covering her eyes in public, again the minimal artifact that makes her vulnerable as art. Everyones sees her, but she sees nobody, the blindness of being. With you.
Anto Lloveras. Curator.
Since 2010 has curated and exhibited the art of POL PARRHESIA
for the relational exhibitions by LAPIEZA
Identity and nostalgia, the artifact that mediates me and you.
Selected works 2010-2015