The ink coats the skin. The shadow of the railing undulates over the inert bodies. Oceanic forms, spectra of that which is unknown. Fish, turtles and algae distorted by the light of headlights. The dense air dries the shell of the fruits. A wave withdraws and leaves a filigree of salt. Times and fire. The resistance of the line to arcing. Fear of the past, fear of the other, fear of living under a straight roof. The curve is inseparable from the matter lived.
Contradicting the yearnings of the rationalism, the ornament returns with enough, either on our skin or that of the buildings. The exhibition that Eulàlia Rovira and Adrian Schindler, winners of the Visual Arts Grant 2018 of the Güell Foundation, present to Homesession relates two types of ornamentation apparently unrelated: one is manifested in organicist architecture and the other in tribal-inspired tattoos. Crystallizing fears as well as fascination, these forms lead us to the tumultuous curves of the sea agitated by the colonial past and environmental disasters. Starting from two iconic buildings on Paseo de Gracia, the work reconsiders the ornament as a possible place from which to face the conflictual relationships we entertain with the environment and with difference.