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| Ezcurra Maria The body of work as sensual anthropology In her works, Maria Ezcurra transforms cloths into matrixes that contain the absence of the body. In doing so, she inverts the guiding principles of sculpture by placing the emphasis on the mould. Maria Ezcurra's objects, sculptures, interventions and installations denote a clinical -almost medical- will to reveal the interior like an external skin, disembowelling the objects and pieces of clothing as if it was a ritual autopsy and re-contextualising what is private -the viscera- while transporting it to public space. An example of her sculptures is the work made of disassembled and stretched pieces of clothing pinned up on a wall as if they were hunting trophies that refer to the body or the object departing from their negative, from their internal and inaccessible skin. As if the readymade had fallen into the hands of a surgeon with an aesthetic’s tendencies- the bizarre constructions that constitute this manual operation occupy space like seized animals. In the work Invisible, which was realised in 2005 for Firstsite Gallery in Colchester within the framework of the exhibition Nostalgia of the Body , Maria Ezcurra created an installation consisting of eighty two pairs of panty hoses cut and sewn together and extended from wall to wall creating a translucent and rather seductive spatial structure, suggesting perhaps a tunnel forbidden to any penetration except that of the gaze. A door to desire or a padlock that keeps us away from it? On the occasion of the Biennial, Invisible is located in one of the most symbolic places of Thessaloniki: the atrium of the Archaeological Museum, which houses items of great cultural and historical significance for the locals and constitutes a reference point for the visitors, who go there in search of clues of the city’s rich past. The location of the museum in the avenue connecting the airport of Thessaloniki with its most emblematic-monument, the White Tower, and its historical centre, turns Invisible into a scandalously intimate skin, exposing its radical feminine character in the open space, at the point where the present and the past of a city, populated by a veiled multiplicity of absences, come together. Gabriela Salgado  Download CV |  Invisible, 2005-2009 |
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