Florencia Rothschild, "Becoming a Blue Vessel"
2023
Two-color lithograph on paper. Co-published with La Ceiba Gráfica
Price is for unframed work. Frame in the exhibition is not included.
EXHIBITION STATEMENT
Motherhood and caregiving bring with them inevitable changes in needs, times and possibilities. In my experience this further evidenced my creative need, in some way it clarified and enhanced my work, it became more urgent.
The different times demanded new links with materials and productions. Perhaps that is why I began to work with the urgency and spontaneity of rescuing the gestural, exercising little control, making ephemeral, immediate drawings. There was a kind of whirlwind in that approach to production; the fierce need to capture the moment, perhaps. Flexible women, doing impossible pirouettes, mutating their bodies, erasing boundaries, contorting themselves to new limits. Through my production I was able to connect with myself, in shorter but more intense times, go through and try to understand the new thing I was experiencing.
That unexpected urgency, accompanied by the support of my partner and my environment, allowed me to continue producing in new but resinified ways, in the midst of a new extreme fatigue, challenges, difficulties and the reality of an artistic context that does not always offer the best conditions for artists who practice care. In this sense, I believe that there is much to continue working on and that this type of invitation to reflect on these issues becomes necessary and fundamental.
ARTIST STATEMENT
In my work I am continually interested in the topic of the body and its construction and deconstruction. Fragmented, hyper-contorted bodies that deform, that build other forms, from which I question the idea of the individual, giving rise to a collective body and new individualities.
The plasticity of the materials and the silhouettes that I draw teach us that in this life if you are not flexible, you will break and that it is worth being open to the magic of transformation.
I am interested in thinking about working with materials as a sensory, sensitive, intellectual and symbolic link. I am attracted to the fluid and expressive gesture of the stain in the different supports that I use. These strokes leave traces that can be thought of as calligraphy, asanas, as parts of a choreography, a dance, or perhaps a ritual. It is a movement that draws attempts to explore ways of inhabiting ourselves, an existential search that is related to being humanity in this world and the uncertainties that this entails.
My experience as a mother, pregnant woman and caregiver is related to the idea of becoming a clay vessel, with which I empathize through my work as a ceramist. Becoming a clay vessel is a cult of that ancestral, utilitarian, symbolic object, which contains a hole that invites us to explore the void. Becoming a vessel, like a bowl to rest in eternity but also as a receptacle of life, from which to lend oneself to the new thing that is coming.
ARTIST BIO
Born in Buenos Aires, Argentina in 1986. Currently lives and works in Coatepec, Veracruz, Mexico. She is an artist, woman, mother and migrant. Within her studies, she has a degree in Visual Arts with an orientation in Fire Arts, (U.N.A) and Ceramic Technique (U.N.A). She teaches in Education for Interculturality and Sustainability (Universidad Veracruzana). Since her training and extra-academic research, she has dedicated herself to traveling throughout the Latin American continent visiting ceramics and popular arts workshops, learning and exchanging experiences. The production of her personal work wanders between drawing, engraving and ceramics, mainly. For 20 years she has been teaching visual arts. She is currently in charge of the La Ceiba Gráfica ceramics workshop. She has participated in numerous group exhibitions and has held five individual exhibitions: “Becoming a vessel” (2024); “Cosmogonías” (2018/9), “Chichicastenango” (2017). “Magma” (2012) and “Ometepe” (2012).
2023
Two-color lithograph on paper. Co-published with La Ceiba Gráfica
Price is for unframed work. Frame in the exhibition is not included.
EXHIBITION STATEMENT
Motherhood and caregiving bring with them inevitable changes in needs, times and possibilities. In my experience this further evidenced my creative need, in some way it clarified and enhanced my work, it became more urgent.
The different times demanded new links with materials and productions. Perhaps that is why I began to work with the urgency and spontaneity of rescuing the gestural, exercising little control, making ephemeral, immediate drawings. There was a kind of whirlwind in that approach to production; the fierce need to capture the moment, perhaps. Flexible women, doing impossible pirouettes, mutating their bodies, erasing boundaries, contorting themselves to new limits. Through my production I was able to connect with myself, in shorter but more intense times, go through and try to understand the new thing I was experiencing.
That unexpected urgency, accompanied by the support of my partner and my environment, allowed me to continue producing in new but resinified ways, in the midst of a new extreme fatigue, challenges, difficulties and the reality of an artistic context that does not always offer the best conditions for artists who practice care. In this sense, I believe that there is much to continue working on and that this type of invitation to reflect on these issues becomes necessary and fundamental.
ARTIST STATEMENT
In my work I am continually interested in the topic of the body and its construction and deconstruction. Fragmented, hyper-contorted bodies that deform, that build other forms, from which I question the idea of the individual, giving rise to a collective body and new individualities.
The plasticity of the materials and the silhouettes that I draw teach us that in this life if you are not flexible, you will break and that it is worth being open to the magic of transformation.
I am interested in thinking about working with materials as a sensory, sensitive, intellectual and symbolic link. I am attracted to the fluid and expressive gesture of the stain in the different supports that I use. These strokes leave traces that can be thought of as calligraphy, asanas, as parts of a choreography, a dance, or perhaps a ritual. It is a movement that draws attempts to explore ways of inhabiting ourselves, an existential search that is related to being humanity in this world and the uncertainties that this entails.
My experience as a mother, pregnant woman and caregiver is related to the idea of becoming a clay vessel, with which I empathize through my work as a ceramist. Becoming a clay vessel is a cult of that ancestral, utilitarian, symbolic object, which contains a hole that invites us to explore the void. Becoming a vessel, like a bowl to rest in eternity but also as a receptacle of life, from which to lend oneself to the new thing that is coming.
ARTIST BIO
Born in Buenos Aires, Argentina in 1986. Currently lives and works in Coatepec, Veracruz, Mexico. She is an artist, woman, mother and migrant. Within her studies, she has a degree in Visual Arts with an orientation in Fire Arts, (U.N.A) and Ceramic Technique (U.N.A). She teaches in Education for Interculturality and Sustainability (Universidad Veracruzana). Since her training and extra-academic research, she has dedicated herself to traveling throughout the Latin American continent visiting ceramics and popular arts workshops, learning and exchanging experiences. The production of her personal work wanders between drawing, engraving and ceramics, mainly. For 20 years she has been teaching visual arts. She is currently in charge of the La Ceiba Gráfica ceramics workshop. She has participated in numerous group exhibitions and has held five individual exhibitions: “Becoming a vessel” (2024); “Cosmogonías” (2018/9), “Chichicastenango” (2017). “Magma” (2012) and “Ometepe” (2012).
2023
Two-color lithograph on paper. Co-published with La Ceiba Gráfica
Price is for unframed work. Frame in the exhibition is not included.
EXHIBITION STATEMENT
Motherhood and caregiving bring with them inevitable changes in needs, times and possibilities. In my experience this further evidenced my creative need, in some way it clarified and enhanced my work, it became more urgent.
The different times demanded new links with materials and productions. Perhaps that is why I began to work with the urgency and spontaneity of rescuing the gestural, exercising little control, making ephemeral, immediate drawings. There was a kind of whirlwind in that approach to production; the fierce need to capture the moment, perhaps. Flexible women, doing impossible pirouettes, mutating their bodies, erasing boundaries, contorting themselves to new limits. Through my production I was able to connect with myself, in shorter but more intense times, go through and try to understand the new thing I was experiencing.
That unexpected urgency, accompanied by the support of my partner and my environment, allowed me to continue producing in new but resinified ways, in the midst of a new extreme fatigue, challenges, difficulties and the reality of an artistic context that does not always offer the best conditions for artists who practice care. In this sense, I believe that there is much to continue working on and that this type of invitation to reflect on these issues becomes necessary and fundamental.
ARTIST STATEMENT
In my work I am continually interested in the topic of the body and its construction and deconstruction. Fragmented, hyper-contorted bodies that deform, that build other forms, from which I question the idea of the individual, giving rise to a collective body and new individualities.
The plasticity of the materials and the silhouettes that I draw teach us that in this life if you are not flexible, you will break and that it is worth being open to the magic of transformation.
I am interested in thinking about working with materials as a sensory, sensitive, intellectual and symbolic link. I am attracted to the fluid and expressive gesture of the stain in the different supports that I use. These strokes leave traces that can be thought of as calligraphy, asanas, as parts of a choreography, a dance, or perhaps a ritual. It is a movement that draws attempts to explore ways of inhabiting ourselves, an existential search that is related to being humanity in this world and the uncertainties that this entails.
My experience as a mother, pregnant woman and caregiver is related to the idea of becoming a clay vessel, with which I empathize through my work as a ceramist. Becoming a clay vessel is a cult of that ancestral, utilitarian, symbolic object, which contains a hole that invites us to explore the void. Becoming a vessel, like a bowl to rest in eternity but also as a receptacle of life, from which to lend oneself to the new thing that is coming.
ARTIST BIO
Born in Buenos Aires, Argentina in 1986. Currently lives and works in Coatepec, Veracruz, Mexico. She is an artist, woman, mother and migrant. Within her studies, she has a degree in Visual Arts with an orientation in Fire Arts, (U.N.A) and Ceramic Technique (U.N.A). She teaches in Education for Interculturality and Sustainability (Universidad Veracruzana). Since her training and extra-academic research, she has dedicated herself to traveling throughout the Latin American continent visiting ceramics and popular arts workshops, learning and exchanging experiences. The production of her personal work wanders between drawing, engraving and ceramics, mainly. For 20 years she has been teaching visual arts. She is currently in charge of the La Ceiba Gráfica ceramics workshop. She has participated in numerous group exhibitions and has held five individual exhibitions: “Becoming a vessel” (2024); “Cosmogonías” (2018/9), “Chichicastenango” (2017). “Magma” (2012) and “Ometepe” (2012).