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In the window of Sans titre, two dolls sit at a table. Behind them, a light veil marks the separation from the gallery space. The scene appears silent, almost motionless. Nothing indicates what is being said, or even whether anything is being said at all. The gaze passes through the glass, rests on the figures, then meets the fabric and the enclosed space. The intimate is made visible, yet filtered, held behind several layers.
Liselor Perez constructs the exhibition as a succession of boxes. Cabinets, deep frames, miniature cupboards, enclosed devices, each acting as a container for drawings. Every image forms an isolated world. The spaces depicted do not communicate with one another. They coexist without meeting, separated by the walls that both protect and confine them. The act of containing becomes central: to store, to close, to frame, to compartmentalize.
The artist draws inspiration from miniature display cabinets, a practice whose earliest examples date back to the eighteenth…
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Press Release
In the window of Sans titre, two dolls sit at a table. Behind them, a light veil marks the separation from the gallery space. The scene appears silent, almost motionless. Nothing indicates what is being said, or even whether anything is being said at all. The gaze passes through the glass, rests on the figures, then meets the fabric and the enclosed space. The intimate is made visible, yet filtered, held behind several layers.
Liselor Perez constructs the exhibition as a succession of boxes. Cabinets, deep frames, miniature cupboards, enclosed devices, each acting as a container for drawings. Every image forms an isolated world. The spaces depicted do not communicate with one another. They coexist without meeting, separated by the walls that both protect and confine them. The act of containing becomes central: to store, to close, to frame, to compartmentalize.
The artist draws inspiration from miniature display cabinets, a practice whose earliest examples date back to the eighteenth…
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More Exhibitions at sans titre
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