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Artist texts

Symmetries and bifurcations (230 cm x 180 cm)

Mario Altamirano

Symmetries and Bifurcations is, in my opinion, a constant dual folding.
The 'gardens' on the left, the previous structure on the right; the result precedes the first step. Both images occupy the same plane, as if the mirror in which they are superimposed were to lose its monolithic structure and become architectural space. We see the before and after while the process remains unspoken, but completely tangible, like the silence of the street.

As I stood in front of the work, with all the distance that the enclosure allowed me, I experienced something that had not happened to me for a long time. The production detonated information bombs, my head seemed like a minefield, memories, references, quotes, possibilities, spaces, all simultaneously, distant, close. I saw Kubrick's perfect plans in relation to hermeneutic theories, of the link between architecture and human thought, through simple threads with small plumb lines at their ends. An entomologist's showcase, mathematically ordered, in which time is stopped in its ten pins. The classic assembly, measured and structured, of small contours printed in three dimensions, rendering the architecture in real space. The polymer aligned with lead and thread; the white volume, turned into edge and limit, held by pins; the weight of the baroque reduced to a few grams. A screen, flat, perfect, unfolded, enveloping; that extended to me the possibility of seeing everything, but I (as the limited human subject that I am) had to reject it, since I am incapable of focusing on the totality, of seeing time, matter, history, architecture, refraction at the same time.

Paula's work fascinated me, but left me with more questions than certainties (and that, to a neurotic like me, does not leave him calm). How to order a minefield? How to write about disorder without ordering it? How to see the totality without getting lost in the process? How to say what escapes language?

Paula's work turned out to be a beautiful anomaly, an extremely precise production. I saw several of her works, but this is the first one in which several senses do not come into play, only sight, and this was the one that had the capacity to mess up the archive of my brain.

I came across a small aleph in Congreso.

Mario Altamirano, 2023

Time and space (5 x 7 x 5)

Lucía lacchetti


Since its dawn, humanity selected and organized materials from its environment to create counting instruments. Paula Zaccaria designs her own and makes her calculations with everyday fragments. In this brief set of works, she presents new units of measure to mark the complexity of time and space. The length is guided through sequences and series that, on the one hand, point out everyday time and, on the other hand, bring from the view of the unspeakable survivals of a shapeless memory. At the rhythm of the compilation and the collection of instants, the artist tries to make visible the time that goes by unnoticed. She builds lavender abacuses, mounts dried leaves on pins with the accuracy of an entomologist, treasures spontaneous origamis. 

Through these procedures she reveals the mechanism of a length that in the moment of pointing it out, it gets undone. From the assembly and the dismantling of time we have nothing else than traces, also perishable.


Even though Paula appeals to the memory, she does not seek to build monuments nor immortalize the moment but rather to extend the evanescence through a plain register of everyday and automatic procedures. The instruction seems to be that not a day passes by without a documented physical trace. With the thoroughness of the minimum, the artist accumulates gestures as tiny actions of poetic resistance. In her doing, the doodle on Paint, the little paper airplane, the proportion of detachment between the parts of a chocolate wrapper and the leaves and seeds arrangement become temporary stitches that are then tacked and presented in an austere aesthetic. To the patriarchy of chronometric time, contrasts the touching time to give shape to what is happening on the edges. This is not then, a time from the past but rather one from the memory. As the time flux folds and unfolds, Paula’s work builds itself. Time will be the one undoing the work.


In the room, the unit of measure is defined by the movement of the audience. The space displayed is not conceived as a static receptacle but rather as a setting for a series of sensorial-emotional connections linked to the movements of the body. The subtle and declining fragrant diffusion spreads to the audience’s space and encourages him to dive into its personal mneme archaeology. These memory connections shape an evoked space, impossible to quantify with the same instruments as in the physical space. In this last one, daily actions pile up and its unnoticed trail materializes into the physical evidence of its accumulation: blocks of paper airplanes and tissue papers.


5 x 7 x 5: haiku syllabic counting that traces a spatialized moment in width by length by height. These are six works that claim to organize reality according to intimate coordinates and the thorough measure of the one who makes them.

Lucía Lacchetti, 2016


Cristina Tomsig


Coffee, cocoa, clove, pepper, cinnamon..., sexy fragrances, spices that prompt us into a fruitful world and, as such, we talk about Brazil, about its land, its fruits and its fragrances.

Paula Zaccaria, through subtle and light spatial constructions, can manage to capture them by threading, weaving. The artist offers us a spatial journey still ethereal and powerful that provokes us from the senses and involves us in a singular personal experience.


The ephemeral of the fragrance and the intensity of the answers that arise in the audience become linked in this space loaded with meanings.


Cristina Tomsig, 2009

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