Marisa’s art encompasses here her investigation, both objective and subjective, of lithium. Her sculptures present a fascinating dichotomy as she aims to show us the impact of lithium mineral extraction, whether in a destructive way with both nature and humans, and the positive ways in which it can be recycled and used again as a sustainable long-term solution. Furthermore, they offer insights into the artist’s questioning of her country’s colonial past.
These works encompass our senses: inspired by drilling jars and mining rotors, they emerge from the crust of the earth, yet also look like rockets, ready to take the viewer to the next levels. The visitor looks at the same time at the skies above, and our future, whilst observing our past, and the consequences of our actions, on the ground. These powerful sculptures demonstrate the artist’s skills in quiet contemplation and powerful calls to action, as they...seem to float out of the soil they were inspired from. Noting that only 9% of the global industrial waste is recycled, with much of it sent to previous colonies, Marisa’s sculptural emblems are strong reminders of the ecological crisis we are facing, but also harbingers of hope.
The names of the rooms are verbs, synonymous with action. “Surveying”, “Digging” and “Memorializing” evoke an anthropological gaze. The geometry of many of the straight lines in the sculptures dances around the sheerness of the materials used. Whilst some of the works are based on technical drawings of drilling jars, architectural universes on their own, others refer to the movement of piercing into the earth.
- Alice Motte-Muñoz
Entrada actualizada el el 17 mar de 2022
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