Starting off from the binomial to be/to seem she chooses the skin and the orifice as paradigm for the external in order to create a series of sculptural devices that transport us to a familiar and uncanny place, a private and shared territory, an internal, sticky place which is inviting and soft. Her interest in the body, the hair, the pore and the orifice, makes her explore the skin as the last frontier, as the place of caresses and tortures, a space to show and to hide, a territory of affection and rejection. Through the dichotomy between soft and hard, public and private, domestic and wild, fragment and whole, Miguel is asserting the utilisation of those techniques traditionally seen as women-only, such as textile and ceramics.
‘Fold (to be)’ emerges in the studio and by working the clay, which later leads to connecting with materials like cloth, plastic and photographs. This way, the artist generates a series of pieces that speak of the fragmented body, of the (disguised) social body, and the way in which they interact with their context. She uses the analogy between body and behaviour in order to create a series of objects that when introduced in an intimate gaze reveals the ambiguity of their essence.
Estela Miguel (Cuenca, Spain, 1992) holds a BFA from the Universidad de Castilla-La Mancha (Spain) and she completed her masters in Ceramics at the University of the Basque Country. She develops her art practice around a cartographic structure, where different concepts and ideas are accumulated, related and fed back to each other.
Recent projects include “out of the loop” at Centro Cultural Montehermoso (Vitoria, 2017), Ertibil 2016 at Sala Rekalde in Bilbao: Bienal Internacional de Cerámica de Manises, and her last solo show at Espacio Alexandra in 2016, among other.