Along with her exhibition “Meruntö: In the home of spirits,” artist and environmentalist Lucía Pizzani invitations us to participate in a ritual for remembering and recovering the data of easy methods to coexist with and inside nature. Via a choice of photo voltaic prints, pictures on paper and cloth, and ceramics-based sculptures, she honors ancestral religious practices and converts the gallery area right into a temple to Meruntö, a cosmic vitality pressure derived from the solar that South American Pemon Indigenous custom holds to be housed in all dwelling organisms.
Rooting her follow in Pemon philosophy, the artist conjures idols representing nature’s invisible forces. For works like Totem Anima, 2022, and Totem Felino, 2022, she achieved the textured surfaces by imprinting clay sourced from the UK with Mexican corncobs. These objects have been then mounted on 4 pedestals organized with a ceremonial air within the heart of the room. To create her works, Pizzani typically makes use of vegetation and supplies from totally different territories—right here, the corncob—to represent a syncretism of geographies. This technique, amongst others, permits her to evoke methods wherein pure ecosystems have been affected by a worldwide historical past of colonialism, commerce, and migration.
Flanking the partitions, the photographic sequence, “Tactile Botanica,” 2023, captures the artist’s personal hand holding numerous tropical vegetation that have been dispersed to and from South America, akin to bananas, eucalyptus, and Asian palms. The gestures depicted are, in line with Pizzani, performative acts of loving embrace. Although they replicate on the harm to ecosystems inflicted by humanity, additionally they acknowledge the inseparability of humankind and nature, bonded by the pressure of Meruntö, and thus situation a name for a return to ancestral practices of care.