By WAC | 2 SEP 2022

Joana Escoval often uses, physically or metaphorically, the four elemental ingredients: earth, fire, water and air. Or to create her sculptures. Or to change the light of her family jewels on this occasion. Or to catch something material in a text.

Although the important thing lies in how the person who approaches the device —that the artist sets up in Bombon Projects— articulates or makes the pieces that configure it their own. Better said: in how the viewer manages in the intermediate spaces between the action of contemplating a sculpture and moving on to the next ones in order to sketch and understand the whole. Because reality usually takes place between objects or things. It is the artist's will that this should happen: it is part of her poietic movement. This is the aim of both her previous projects and her discourse.

The same should be said, however, that a finding of her artistic practice is the fact that some of his sculptures summon up that which will not disappear before us or that which emerges and culminates without us. That is to say, the transformation takes place with a single material image: one that contains the figure and its beam of movements. One could therefore dispense with the distances between the objects or things of her artifice in order to glimpse how the processes of nature operate in Escoval's work. Here, too, the real is often the case.

Perhaps Wordless and Earthen is an opportunity to relate, either to one of the pieces that comprise it, or to the texture —of the room— that manifests itself energetically in some of Escoval's sculptures. Or with everything, of course.

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