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Untitled : Ernesto Capdevila and Aurora Molina

“Untitled”, features the achingly poignant and surreal paintings of Ernesto Capdevila, and the wonderfully bizarre soft sculpture series of “Anthropoidals” by Aurora Molina.


Ernesto Capdevila

“…inside the platonic cavern we find a group of men. They have been there since childhood, their feet and neck tied. In the same position, unmoving, they look ahead as looking back has been rendered impossible. They are men that know only of shadows. If we were to untie them, if we forced them to get up and to direct their eyes to the light, wouldn’t doing this be painful? And if they were to look straight into the light wouldn’ t they hurt their eyes and try to escape from the pain? However, were they to withstand the glare they would come out as better men, infinitely better…

In the end, there are no distorted versions since they all belong to reality. Each statement (assertion) puts forth a method, whether true or not. In a way, these are my works so far: an unforeseen road without beginning or end, truths and lies that are bared in the same stage. The differences and coexistence being, in my opinion, what is truly valuable.”


Aurora Molina

“I’m a figurative fiber sculpture artist. Currently I’m working on a series of soft sculptures, each has its own spirit, some grotesques, others belligerents and some with a more serious side are like ill-behaved children that demand attention. But each one tells a story about their physical process of aging. They are creatures appeal to our social consciousness and narrate stories about our extemporaneousness, instilling a spirit of modernity and the friction it creates in our society.

These anthropoidals coexist in a habitat devoid of any established human law and where the relationship between their different personalities makes them react intuitively. In this habitat there is symbolic representation of differently created stereotypes, representing social values present in human groupings. These are creatures that are funny, frightening, incongruous-looking, part human, part animal, and intentionally grotesque. The anthropomorphic aspect of the pieces is the animal that wants to become human. My use of stocking make them appear crude, more visceral, as if the skin had been removed to reveal what’s beneath, to expose the rawness of tissue and blood. Indeed, it is the grotesque nature of these pieces that is meant to invite deeper explorations into the true nature of the character, a repulsiveness that seduce the spectator to reexamine his or her own psychological vulnerabilities.”

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