A complex but fascinating exhibition is the one presented by the plastic artist Jeanne Saade Palombo, who delves into the human body, the origin of man and woman, consciousness, their relationship with the world and the idea of the divine under the mystique of Judaism in some twenty pieces, made expressly for the Federico Silva Museum.
The plastic artist, through her three-dimensional proposal in “Spiritual Labyrinths”, invites us to reflect on the myths of creation in Jewish mysticism. During a tour of the exhibition, accompanied by the sculptor Saúl Kaminer and the art critic Luis Ignacio Sainz, she offered Exprés some details of the pieces and their meaning.
“The goal is for the viewer to reflect and make their own conclusions, much of what I can read in a piece, someone else can read it differently and that is the part that enriches”, said Jeanne Saade in an interview with Exprés.
THE BODY AND SPIRITUALITY
“All the mysticism and all the stories, which sometimes seem childish, are extremely important, because they evolve with oneself, they take another, more mature point of view. To create these works I had to study, Saúl helped me a lot, I had teachers of Kabbalah, of religion and I captured it in the work”, said the artist.
“It is a very innovative exhibition in its forms, in its materials, in its proposal, but it has a very powerful philosophical, theological and mystical foundation,” said Dr. Luis Ignacio Sainz; critic and art historian, specialist in plastic arts and architecture. “Jeanne is an exceptional draftswoman and painter and she presents this game of echoes and resonances between her three-dimensional imagination, the work of drawing, it is very powerful.”
Saúl Káminer, architect, painter and sculptor with more than 70 individual exhibitions and more than 170 collective ones, participates in the texts of the exhibition and in its catalogue, as an expert in Jewish sacred mysticism.
During the tour, he mentioned that “each part of the body is associated with something that we are going to develop during our lives, it is our first habitat and our entire vital process is within our own body and our consciousness. Jeanne surprises us by introducing us to the body, its spirituality and some of the myths of Adam, Eve and Lilith”.
“The pieces show how the body is a temple, how we are from the body and we are forming ourselves and that is where we are fighting with ourselves, it is what Jeanne manages to make visual”, said Luis Ignacio.
MATERIALIZED MYSTICISM
In “Spiritual Labyrinths” some pieces are made with wax remnants and others with ceramics.
They show arms, faces or masks, fingers, ears, eyes and breasts, in other works there are hearts, “Woman without image”, “Man” (it is a face from the front and another from the back), “Three ribs”, ” Heart Vessels” (alluding to the Tsimtsum, which refers to the primordial origin of the creation of the world), “Deconstructed Woman” (about a feminine duality), Wings (alluding to angels), tower of fingers and a series of books : Skull Book, Heart Book, Wing Book, Baby Book (on the evolution of the human being from the womb).
Jeanne said that in this exhibition for the first time she used paraffin as a material and also the synchronization with the spiritual, “everything is natural, wax, paraffin, earth and paper, which comes from the tree.”
Regarding the three sculptures formed by index fingers, master Saúl Káminer commented that “these fingers are used to read sacred books, it is a vehicle for spiritual reading and the fact that it is a tower turns it into architecture, like a library. which is about to be read”.
“But it also reminds us that with the index it is indicated that we are not worthy of Paradise, because we were expelled by our ancestors, we are ordered to shut up and forget, so the finger rests on the lips and generates the channel of the upper lip, like a footprint, a scar, that we are creatures, that we don’t create ourselves,” said Ignacio Sainz.
“Each of the works in this exhibition has four aspects: one analogical, philosophical, psychic and mysterious -the one that cannot be known-, and when they are integrated it is to become conscious”, added Káminer.
THE FEMININE SIDE
In some of the works, the sculptress shows two versions of the feminine from the point of view of creation, Lilith and Eve.
“When the creation process occurs, a man as such is not created, a primordial being is created, which is not directly sexed in solitude, but lives in a duality, Lilith and Adam. God the Creator understands that this way they are not going to go anywhere and they require that they confront and complement each other; the moment of reproduction arrives and Lilith refuses to submit to Adam, so she leaves Eden. She later she created Eve from Adam’s rib,” Sainz explained.
LIGHT AND SHADOW
“In each fragment of the exhibition it shows the spiritual and not the religious, the idea is that we are transcendent because we can go beyond the body we have”, commented Ignacio Sainz and added that “it is important to highlight that light, which represents divine light bathes the remnants of a body that is not mutilated, but is aspiring to reintegrate. Undoubtedly, one of the successes of the assembly of the exhibition is to understand that if creation is light or comes from it and if we have something transcendent, it is because there is an energetic point of light in us”.
The Federico Silva Contemporary Sculpture Museum will maintain this exhibition for four months in the rooms on its ground floor.
On the ground floor of the Federico Silva Museum, a labyrinth of art and mysticism