7 june, 2024 – 2025
Amparo Room. Second floor.
One of the most important issues in Amparo Segarra’s construction project is the space and place where the scene unfolds. A concept that is a prominent part on a personal level from the development of her work as an actress to the representation of a space where she can place a wide cast of characters, elements or fractions of them, to manipulate or unify them in a wide spectrum of possibilities.
Within the contextual, the field becomes a space of action, populated with beings, decontextualized objects, machines, animals or fragments of one’s own body, forming a scenario that makes the spectator wonder. An open field where we appreciate the presence of animals treated individually or as a group or herd. In this context, the special treatment of nature stands out, highlighting the presence of trees, from forests to pieces that serve as a support for the action represented by the artist.
Another recurring place is the desert, a territory used in various pieces and in different ways, as we can see in collages such as Cactus, where this natural element organizes a scene in which the colour orange stands out as opposed to the distribution of the characters who perform different actions.
On the other hand, the urban context with reference to historicist architecture where we find links to the classical world through the Greco-Roman ruin, orientalist contexts, loaded with exoticism, or fragments of streets and squares from South American cultures.
Other references to the landscape are presented as residual or abandoned areas from rubbish dumps to landfills, maritime landscapes featuring the sea in its different meanings, from the beach at sunset to summer references with the jungle as a backdrop, as well as winter, frozen or polar landscapes, in direct relation to the United States or the poles.
There are other types of landscape relationships such as the rural context that refers, in some cases, to specific locations such as the Osborne Bull or the windmills of La Mancha.
Eduardo Valiña. Curator
