The stone falls again and I am sure that from somewhere hidden there is a gaze enjoying Sisyphus reloading it. The spectator completes this fall with his presence and his interpretation; he completes the work of art as we all well know.
Paula has generated a graphic language of her own, seeking to represent her personal imagination, she tries to process her archetypes through the continuous development of her technique that lead her to images of great visual power on the border between the dreamlike and the literal. Icons of femininity, intervened figures of men, random strokes under serial procedures, lithographs, woodcuts and illuminated hollow prints on different supports that further enrich their results lead to a large canvas of great aesthetic and procedural value.
This set of works that we can see in "I Saw Fireworks" speaks of the process and the result, of the continuous training of the artist immersed in a project of personal ambition, fighting and striving to obtain that image built in her head . The metaphor of Scaffolding (W. Bruner) is present in this exhibition, the way of progressing through the help that García Arizcun has voluntarily requested reminds us that we constantly grow thanks to the need of others in teaching-learning situations. This is how the leading piece combines its graphic resources investigated in its small pieces that can also be seen, from the individual work underlying all of its "sketches" to its speculations by which every artist articulates his identity.
The artistic production is an allegory to our lives, to that uncomfortable journey that never ends up loaded with our own history and ambitions. The final canvas that closes the exhibition (or opens it) speaks of Paula García Arizcun, of her way of experiencing her feelings and of her way of working. Scaffolding, as it calls the great stamping of it on fabric, a piece of great complexity in the process of it requires a start over until errors are minimized until they are imperceptible. The Sisyphus stone becomes the matrix that Paula has “loaded” over and over again until she achieves this finish that makes us viewers of this intimate and delicate exhibition.
Ignacio Tejedor Lopez