Barcelona

Susy Gómez

Fundació Joan Miró

This untitled installation by Susy Gómez examined perception, knowledge, and feelings, carefully, almost modestly. Subtle and timid, her work is very attractive, almost erotic. It reflects an urgency to communicate even though the process of communication seems to be both painful and difficult for the artist. It reveals her internal struggle as well as her determination to work from her own feelings, thoughts, and nature. The way the viewer sees the show—little by little, piece by piece—creates a very intimate, almost tactile, experience, as if, very slowly, someone were beginning to undress. After walking through a white room where, very randomly distributed, impossible garments appeared which were either painted or covered in white (sewn-up, useless trousers, double-pierced useless earrings, etc.), the viewer arrived at the core of the exhibition—an enormous transparent spiral. Although uniform on the outside, it was readily apparent that this homogeneity was just an illusion created by a thin outer layer. Once inside the circle, there was an interior made out of patchwork (a collection of unified pieces, a very large variety of clothes sewn together inside the apparently individual and homogeneous container).

Gómez’s installation was about intimacy, communication, interpretation, and misunderstanding. In a way it was a picturesque explanation of the impossibility of understanding, and therefore a defense of subjective knowledge as the only possible form of knowledge. The show was both a decisive statement and a work in progress. The installation remained untitled or perhaps overtitled, for in this case to title the show would have been to cut it short, to limit it, just as the classification of an individual does.

Anatxu Zabalbeascoa