Museum Arxiu Tomàs Balvey
Artist winner in the Project Art Vigent
Lourdes Fisa has been the selected artist for the Project Art Vigent 2015
PLAYING AS A JOURNEY OF DISCOVERY
In a game everything is possible, that is what Lourdes Fisa assures us. The video of the journey from the studio to the museum shows us the permanent and interchangeable transit that takes place in her creative world. And, once in the space, there are plastic paths which branch off and invite us to play, because through the game she vindicates the risk, the chance and the strategy which form part of any vital journey.
Among the phrases, we find clues to enter into each environment and at the same time there are recurring elements that allow us to find the foundations of her process: Life is everything that happens to us while we are making the trip, adding our own combinations, the experiences that allow us build this picture, fragment by fragment, like a puzzle.
Painting, engraving, drawing, objects and writing enable us to establish relationships between thoughts, give us a location and open us to the many ways to play proposed by the author: to learn, build, imagine, participate, advance…
1,2,3 Let’s start to imagine. The idea, arising from a number, and the game that enables progress, as she has always done by branching out in her work. The texts related to the visual ensembles form a whole that, during the visit, will make us think and introduce us to the game in a linked way, with key concepts that are repeated in a larger font.
As soon as you enter into the space, you find a grand collage with work from different periods that coincide in their approach and there is a repeated element that focuses our attention and moves us move forward. Respect for the place as well as the dialogue that arises, gives us the traffic that connects the interior to the exterior.
From the first moment, we know that the rules of the game require an open mentality and time to think. Concept and vocabulary introduce us to cartographies that, like maps, place us us as spectators inside the process. This approach allows her to present a double game: to provoke our participation and to understand this continuous movement that is also a part of her own work process, a game of relations which, from a work, enables growth, like a collage open to constant integration, but without forgetting that the interrelation is like like inside life, like a work inside another work.
An ocean of ideas and thoughts. It is necessary to continue this game of discovery, full of subtlety and different interpretations. What appears and disappears? The spectator’s mirror that now integrates the game of perception; A piece upside down, which when rotated, turns its back on us, perhaps looking for the other side that also exists… But also the symbols, that are normally found in her work, and now appear through the Parcheesi game: the triangle-house, which is the starting point for each person; the hut as a safe place or refuge; the discussion that becomes the safe place to share with friends and family; arrows that indicate changes in direction and, in the middle, all the squares that, are in reality, the squares or rectangles that mark the route and give us the recurring idea of movement and introducing the four colours of the Parcheesi that are like a global interpretation of the game, in the end everything is always mixed.
The visitor’s experience. The fact that we are moving and advancing makes the work evolve and the visitor can even leave the picture. The changing experience, sometimes, invites us to skip with the rope to see the work in movement or, with the drawing as a base, places a Parcheesi game on the ground with different with the pieces on it, as if they were the counters of this journey that includes both her building blocks and her techniques.
The journey allows us to see how joins grids and plays with the engraving as a unique piece, as another element to integrate into the picture, but we discover the importance of the tactile part with textures and objects, emptiness and fullness, la lightness and el enclosure, always within this dialogue between opposing concepts that are needed to give unity, as understood by the writer Italo Calvino, another game-lover, who in The Invisible Cities develops grand dialogues between Kublai Khan and Marco Polo before the chess board.
A metaphor of life. The author tells us: You can be starting counter. If the dice is the key word, the object that will give you an exit route, the symbol will always be the risk, the glance, the eye that will make you move forward. In another moment, the words before the table with the cards in the universe are: Play the cards and make your combination.
Lourdes Fisa offers you a game. Duration : 1:24
It all arises from her own experience to reuse materials, the recuperation of works in other formats where the game concept is present, studied in depth in this exhibition, movement —a fundamental word in her work throughout the years— that allows her to reuse works in an infinite combination, because you never know where a work that is always linked to transformation by the passing of time begins or ends.
The exhibition Camins de descoberta, refers to her need to navigate to cross horizons. The studio and the exhibition are two interlinked mobile spaces, which like the spider’s web that grows, multiplies and forks in the exploration of new routes, playing with materials, colours, textures, spaces, transparencies… The most important thing for her is, depending on the project and the location, is to create an emotional cartography where different elements that pass through life and writing merge. At that moment, I remember that she described her studio like a laboratory of ideas to continue travelling beyond her physical surroundings, “to lead a life a through the different possibilities generated by visual interplay, always retaining the freedom to choose the next step”.