PARRA & ROMERO | IBIZA - Ibiza

Parra & Romero is pleased to present the first solo exhibition by Luísa Jacinto at our Madrid space. Throughout her career, Luísa has carried out a profound investigation into the codes and conventions of pictorial materiality. Her work does not seek to replicate, but to decompose, question and reformulate these codes. She has been moving in a liminal space, a transitional territory between the visible and the intangible that has allowed her to reflect on the relationship between the body, the skin that constitutes it and the environment that surrounds it. In this way, every fold, mark or erosion revealed in her pieces, beyond being mere formal accidents, become elements loaded with significance. In My shadow is yours , Luísa Jacinto presents a set of works that question space, time and weight as essential attributes of painting beyond its traditional boundaries. Through her practice, Jacinto actively dismantles the presumed stability of painting’s surface, revealing instead a medium in constant flux and transformation. The exhibition brings together for the first time three distinct yet interconnected bodies of work: the skin- paintings of Strangers series, with their vulnerable membrane-like surfaces; the net-paintings of Work in Space , resembling ossified webs suspended between dimensions; and the screen-paintings of I was never , which fragment and multiply the act of seeing itself. The different materials of these series seem to redefine the space in which they are inserted, turning it into a living territory to be visited and activated by the visitor. In this network of works, colour behaves like a kind of atmosphere and the pieces are presented as vulnerable bodies in which wrinkles and folds seem to become traces of a possible material memory. The title of the exhibition, My shadow is yours , refers to one of the dialogues in Malcolm Lowry’s novel Under the Volcano and suggests the almost symbiotic relationship established between visitor and work, two agents who need each other to compose this space-refuge that seems to emerge organically. Thus, as opposed to an essentialist logic, Luisa proposes an ethic of becoming close to Braidotti’s concept of the ‘nomadic subject’. Her pieces could be understood as a kind of porous bodies, without the need for a centre or a single direction, in constant change that point towards a cohabitation based on care. Under these coordinates, the shadow is presented, then, as a metaphor for the human condition, as a refuge but also as that uncertain, fleeting and vulnerable part that slips between the real and the possible.