barcelona

Lucía Onzaín

Galería Antonio De Barnola

Three yellow roses seem to lie at the source of Lucia Onzaín’s structures. The roses allude to the title of a Raymond Carver story, in which Chekhov awaits death in a room at a spa decorated with a vase containing three yellow roses. Each rose marks a grave—Carver’s, Chekhov’s, and that of the artist’s own father. Onzaín links the three deaths to give meaning to her own loss.

The dominant effect of Onzaín’s work is one of transparency—sheets of glass encase amorphous substances that look as if they could have given life to the objects of which they are a part. She often uses a light iron frame to support her glass and wax objects as if to underline that though glass and wax are indeed fragile materials, they are also strong, often hard. In molding the wax, Onzaín arrives at a paradoxically abstract kind of figuration with a solid, three-dimensional character.

All the pieces in the show are

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