5 November – 25 January
Amparo Sard was born in Majorca in 1973. She has a Degree in Fine Arts from the University of Barcelona, of which she is currently a Professor, and one of the Majorcan artists with broader international impact. She has exhibited in many public and private venues and her work can be found in important collections such as those of the Guggenheim New York, Deutsche Bank Berlin and the Col·lecció Testimoni of “la Caixa” Foundation.
“All my work is woven around tolerance. That delicate bridge between one and the other and, for this reason, the other self emerges, the one “we should be”. When we decide to change the “yes” for “no” or vice versa. That cut-off point, that turning point that can be so subliminal and yet so intense when we talk about our living space. It is that tension which is created that interests me”. Amparo Sard
The artist has been invited to important events of the European artistic scene such as the International Paper Biennial in the Netherlands and the Düsseldorf Quadrennial.
Amparo Sard has taken part in The Armory Show New York, Art Miami, Pulse Miami/New York, Art Cologne, Art Chicago, LOOP and Art Forum, among other fairs. Some of her works have been present in the last edition of ARCOmadrid 2014.
“A person’s limit is their skin, if we talk about something that can be touched. The limit of their soul, or of their essence, or of that, which is truly important, is a more complex thing. And in mathematics limits serve to calculate which way a trend is going in order to forecast what will happen. They do not give a result, they give an orientation. What would happen if we applied those mathematical calculations to our lives, if we calculate the limits between urge and instinct? We can make decisions or have reactions that will somehow modify a reality, but they will only distort it a bit because, due to experience and genetics, we are going to follow a similar pattern”. Amparo Sard
Amparo Sard’s work is an intimate reflection on human nature, on doubt and anguish in human beings. It is, to a large extent, an analysis on human existence, a plastic meditation about contemporary identity, always more uncertain, harder to redefine, between indecision and mistake.
Amparo Sard stated in 2006 that her papers, obsessively pierced with pins, could be regarded from two perspectives. On the one hand, the elements purely shown (water, the suitcase, the tube, the chair, the fly or the woman) allow everyone to make their own free interpretation. On the other hand, there is a subliminal language that connects the search for beauty with that which is sinister. We find some examples of it when the artist exposes the wax figures or robotic dolls before the viewer, or the opposite: when an object that should be alive stands still and dead, as happens with the amputated arms of some of her works.
However limits are defined we often make our own and reflect on what we see. In this case finding ourselves part of the world that Amparo Sard creates with her delineations of space, makes us part of this broader, poetic dimension.