In La amorfo, Silvana Lacarra brings together a series of ideas and experiences that intersect to give meaning to the works (and provoke their search).

This sense is marked by the assessment of the way to go and not by the supposed truth to be revealed. A “contemporary” condition that, however, does not come from recipes such as that the work should interrogate rather than affirm, but rather from the warning that the truth cannot be known without walking the path, because it is intrinsic to the walk itself.

In transit, the pieces are constituted as landmarks on a map of the artist's experience. These are sensations caused by different experiences, many of them in marginal places, where construction logic mixes practical knowledge, shortcomings and other aesthetics.

Lacarra chooses a different way of assuming figuration, subjecting it to a process of abstraction where shapes and colors appear, but above all materials, elements that refer to stories, whether they are their own - and I am talking about materials - as well as the use, the place that occupy in society, the different recognition they have. In short: the value that is given to them.

But not only the materials refer to situations, there are special relationships that the artist establishes with them, with the memory and the commitment to get involved through the whole body. And it is not only about the memories of his childhood - nature, his home, the small town in the province of Buenos Aires where he was born - but more recent events, mixed feelings that come together in the present time, where so much personal as well as social issues.

Formica, that material adopted by the middle class, is mixed with cardboard and plastic in handcrafted combinations that refer to specific things and events: a home owned by someone they know very well or a roof seen as they pass by.

These are works that he does with absolute economy of means. Hence the careful selection made of each element, each shape, each color. It is because they are the central materials in his work, far from denying them, Lacarra tries to expose them in all their condition, in their strength and fragility, in their malleability or roughness.

Perhaps there is here to warn about something else that not even the artist can handle: the rigor of the constructions, the sensuality that emerges and that is summarized in the seduction provoked.

Amorphous is a title that makes "noise", which carries an apparent contradiction. And it is perhaps this objectification of the amorphous that refers - from the feminine power - to wondering about the Golem himself, an embryonic and incomplete being, as disturbing as it is enigmatic, as formal in appearance as destabilizing to the extent that we enter the uncertainty that provokes that non-search for beauty, that invitation to walk the road.

Fernando Farina