Partial view of the solo show Fallacious memory (2014) at Caroline Pagès Gallery, Lisbon (Portugal)
Photo © Caroline Pagès Gallery




Untitled (Fallacious memory series #1), 2014
Color pencil, pigments and acrylic gesso on cotton paper
20,3 x 25,5 cm



Untitled (Fallacious memory series #2), 2014
Color pencil, pigments and acrylic gesso on cotton paper
20,3 x 25,5 cm




Untitled (Fallacious memory series #3), 2014
Color pencil, pigments and acrylic gesso on cotton paper
20,3 x 25,5 cm



Untitled (Fallacious memory series #4), 2014
Color pencil, pigments and acrylic gesso on cotton paper
20,3 x 25,5 cm



Untitled (Fallacious memory series #5), 2014
Color pencil, pigments and acrylic gesso on cotton paper
20,3 x 25,5 cm




Untitled (Fallacious memory series #6), 2014
Color pencil, pigments and acrylic gesso on cotton paper
20,3 x 25,5 cm




Untitled (Fallacious memory series #7), 2014
Color pencil, pigments and acrylic gesso on cotton paper
20,3 x 25,5 cm




Untitled (Fallacious memory series #8), 2014
Color pencil, pigments and acrylic gesso on cotton paper
20,3 x 25,5 cm




Untitled (Fallacious memory series #9), 2014
Color pencil, pigments and acrylic gesso on cotton paper
20,3 x 25,5 cm


«In her second solo show, in between important group shows, AnaMary Bilbao proceeds with her palimpsests by reversion: she doesn’t erase what she “writes” (or scratches) on the surface, so that she can do it again. Rather it is the accumulation of traces and layers of plaster that allow the discerning of the basis of it all. Oddly enough, the fact that the works are plaster (gesso) over paper does not remove the impression of a thin pictorial skin. The author fills a sheet of paper with lines of yellow pencil. Then it’s covered with a layer of ocher-earth plaster. Over this new layer, a new inscription of green tracings, plaster, terra siena pencil and, finally, plaster. But the order might be some other. At the end, a stylus takes action, scratching and produces the archaeology of each drawing, showing the invisibility of everything we see.» By Carlos Vidal, «Drawing and Memory» (2014)

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