Memoria Material. Susana Pozo

Pozo from three series produced over the last few years: Naturalia, Cuerpos votivos (Votive Bodies) and El ojo vacío del tiempo (The Empty Eye of Time).

The pieces in Naturalia refer to the different displays of the animal and plant world that were housed in the Renaissance wunderkammer, those cabinets of curiosities, ancestors of our museums, in which the scientific and the artistic shared space and equally astonished their privileged spectators.

Votiv Bodies, on the other hand, focuses on a type of cultural manifestation that was until recently neglected in anthropological studies: votive offerings, reproductions of parts of the human body that believers from different periods and confessions have used as offerings to the divinity. Considering them authentic manifestations of popular expressiveness, Susana Pozo has rescued these representations and inserted them into a contemporary discourse that oscillates between the informal and the figurative.

The pieces in El ojo vacío del tiempo (The Empty Eye of Time) are also situated in a liminal space. The human figures in them are often reframed, isolated from each other by the rigidity of their own space. Despite dealing with such contemporary themes as isolation and loneliness, this last series also seeks to establish a link with archaic art by working with silhouettes which, through their gestures and texture, evoke pictorial remains from Antiquity that have been damaged by the passing of the centuries.