https://paulaclaveria.com Paula Clavería Mon, 21 Apr 2025 12:05:24 +0000 https://paulaclaveria.com en https://paulaclaveria.com/Theories Mon, 08 Apr 2019 21:18:55 +0000 Paula Clavería https://paulaclaveria.com/Theories In progress, update coming shortly. https://paulaclaveria.com/reading-room Mon, 21 Apr 2025 12:05:24 +0000 Paula Clavería https://paulaclaveria.com/reading-room <img width="2480" height="3508" width_o="2480" height_o="3508" data-src="https://freight.cargo.site/t/original/i/7475d11a245ca8b54c6cfd152d806f7c201f2ab99cbab153fd5f1f74fa49c66d/libro-01.jpeg" data-mid="230471132" border="0" src="https://freight.cargo.site/w/1000/i/7475d11a245ca8b54c6cfd152d806f7c201f2ab99cbab153fd5f1f74fa49c66d/libro-01.jpeg" />Title: Art and ObjectsAuthor: Graham HarmanPublication Year: 2019 In Art and Objects, Graham Harman explores a radical shift in how we conceive of objects. Moving beyond an anthropocentric perspective, he invites us to see objects not merely as tools or experiences defined by human use, but as entities with their own autonomous existence. This approach significantly broadens the way we understand "objects," extending the concept to encompass anything that withdraws from complete access — whether physical, conceptual, or otherwise. It is a fascinating invitation to decenter the human and engage with a richer, deeper ontology of things.-<img width="2480" height="3508" width_o="2480" height_o="3508" data-src="https://freight.cargo.site/t/original/i/edffe1b8b5c7839dad4e430bc40beb38c2a839854ae298582f0358152eceb009/La-Intimidad-de-la-Casa.jpg" data-mid="230533869" border="0" src="https://freight.cargo.site/w/1000/i/edffe1b8b5c7839dad4e430bc40beb38c2a839854ae298582f0358152eceb009/La-Intimidad-de-la-Casa.jpg" />Title: The Intimacy of the House: The Individual Space in Domestic Architecture in the 20th CenturyAuthor: Ana Sofia Pereira da SilvaPublication Year: 2013Institution: Department of Architectural Projects, Higher Technical School of ArchitectureSupervisors: Doctor Architects María Teresa Muñoz and Fernando Quesada This doctoral thesis investigates the historical evolution of the concepts of intimacy and individual space within domestic architecture throughout the 20th century. Through a detailed analysis, the work highlights how the home has been shaped as a private refuge, reflecting broader social, cultural, and architectural transformations. The thesis is notable for its thorough bibliographic research and presents a study worthy of careful and reflective reading, especially for those interested in exploring the extensive references provided. <img width="1141" height="839" width_o="1141" height_o="839" data-src="https://freight.cargo.site/t/original/i/dc3870608707e69f78620fc79fa55cdb5eee437872bccc28b35c21eab5c3c171/OBJETOS-INTEMPESTIVOS.jpg" data-mid="231618041" border="0" src="https://freight.cargo.site/w/1000/i/dc3870608707e69f78620fc79fa55cdb5eee437872bccc28b35c21eab5c3c171/OBJETOS-INTEMPESTIVOS.jpg" /> Title: Untimely Objects: Philosophy and Archaeology Oriented Toward ObjectsAuthors: Graham Harman, Christopher WitmorePublication Year: 2012 In Untimely Objects, Graham Harman and Christopher Witmore offer a thought-provoking reflection that challenges one of the most ingrained ideas in philosophy and in our worldview: the notion that humans are the center of everything. Through a critique of the anthropocentric view, the authors invite us to reconsider our relationship with objects and to see them as entities with their own existence, independent of our perception. Instead of viewing objects only in terms of their utility to humans, the book proposes that they have an existence that goes beyond our capacity to interact with them. It’s a challenging perspective that questions the way we understand the world and reminds us that there is much more to it than we often recognize.&nbsp;<img width="1651" height="1100" width_o="1651" height_o="1100" data-src="https://freight.cargo.site/t/original/i/92b9268679082edb87fc7811ae8a42cb7873c7fb5c759e4d17535a24cbcb0d8c/Nuccio-Ordine.jpg" data-mid="231618485" border="0" src="https://freight.cargo.site/w/1000/i/92b9268679082edb87fc7811ae8a42cb7873c7fb5c759e4d17535a24cbcb0d8c/Nuccio-Ordine.jpg" />Title: The Usefulness of the UselessAuthor: Nuccio OrdinePublication Year: 2009 The Usefulness of the Useless is a book recommended to me by my friend Lucía, designer who, like Ordine, appreciates what goes beyond immediate usefulness. In this work, Nuccio Ordine reflects on what we often consider "useless" and how, in reality, it holds deep and essential value for our lives. The author challenges our obsession with efficiency and utility, reminding us that knowledge, art, and beauty do not always need to serve a practical purpose to be valuable. It is a book that invites us to reconsider our relationship with the world, culture, and knowledge, and challenges us to accept the difficulty of understanding "uselessness" as a fundamental part of the essence of life. In a world so focused on productivity, The Usefulness of the Useless makes us think about what truly matters—what cannot be measured or calculated, but that connects us to what is most human and transcendent.<img width="1651" height="1100" width_o="1651" height_o="1100" data-src="https://freight.cargo.site/t/original/i/f5dec0ab41e1b79cd9aa5637ae78f846267929f9eb70c68fb56f58c8c68e42cb/el-jinete-azul.jpg" data-mid="231801557" border="0" src="https://freight.cargo.site/w/1000/i/f5dec0ab41e1b79cd9aa5637ae78f846267929f9eb70c68fb56f58c8c68e42cb/el-jinete-azul.jpg" />Title: The Blue Rider AlmanacAuthors: Wassily Kandinsky &amp; Franz Marc (editors)Publication Year: 1912The idea that objects — including furniture — can have a spiritual dimension is fascinating to me, and The Blue Rider, with Kandinsky at the forefront, touches on that point even if it's not the main focus. Kandinsky believed that any artistic object, if it comes from a genuine "inner necessity," can have a kind of spiritual power. It’s not just about whether something is beautiful or useful, but whether it expresses something — if it has soul. And that really changes how you see things. Because then art isn’t just in museums or “big” works — it can also exist in the everyday. A piece of furniture, a lamp, even a mug can carry meaning if it's made with care and intention, if the creator put something of themselves into it. Kandinsky even says that “the artist is a priest,” like creating is almost a sacred act. Applied to design, that makes me think an object becomes spiritual when it stops being just functional and manages to create a deeper connection with the person using it. It's not just about style or purpose — it’s about intention. And when that’s present, even the simplest things can become art. <img width="2480" height="3508" width_o="2480" height_o="3508" data-src="https://freight.cargo.site/t/original/i/5baac294db4609df38dd68d764216cfe5da0f4d764059c14b56daabce144a5e2/La-distincion.jpg" data-mid="236649012" border="0" src="https://freight.cargo.site/w/1000/i/5baac294db4609df38dd68d764216cfe5da0f4d764059c14b56daabce144a5e2/La-distincion.jpg" />Title: La DistinctionAuthor: Pierre BourdieuPublication Year: 1979 (original in French: La Distinction) Lately I’ve been reading Bourdieu, and I can’t stop thinking about how his sociological analysis intertwines with design, consumption, and the way we inhabit objects. He speaks of time as symbolic capital. Not everyone has the same relationship to it. Dominant classes can afford to use it for cultural leisure, contemplation, or learning. That time is also a luxury, a privilege. He also introduces the idea of two cultural markets. The legitimate market, supported by criticism, institutions, and academia; and the popular market, driven by commercial success, immediate pleasure, and emotional appeal. There's a constant tension between the two. One accuses the other of being vulgar, the other replies that the first is pretentious. And yet, both are meaningful. It made me think deeply about how the objects we design or consume are shaped by these invisible struggles. Are we designing for symbolic recognition, or to reach as many people as possible? What is valued more —and by whom? Another concept that struck me is the “universe of the possible.” Not everyone imagines the same options. Our history, our environment, and our social position shape what we believe to be desirable, legitimate, or even attainable. This has profound implications in design as well: not everyone accesses, understands, or feels called by certain aesthetics or objects. Some codes are designed to exclude. All of this makes me feel that designing is not just about creating beautiful things, but about taking a position within a system of signs, of visibilities, of symbolic struggles. And that, at the very least, is political. It’s a dense read, yes. Perhaps not something to read straight through, but rather to turn to when you want to sharpen your gaze. But it’s incredibly useful. To be honest, it’s sparked some internal debates for me about the concept of beauty. As Kant says, should beauty be innate? Or is it entirely a construct?<img width="2480" height="1478" width_o="2480" height_o="1478" data-src="https://freight.cargo.site/t/original/i/72c3e4a6db77015ac33482d35a3692ae1f6a2a8f74ba864e6fa8e8020b764c1e/We-have-never-been-modern.jpg" data-mid="237057947" border="0" src="https://freight.cargo.site/w/1000/i/72c3e4a6db77015ac33482d35a3692ae1f6a2a8f74ba864e6fa8e8020b764c1e/We-have-never-been-modern.jpg" />Title: We Have Never Been Modern: Essays in Symmetrical AnthropologyAuthor: Bruno LatourPublication Year: original in French: Nous n’avons jamais été modernes, 1991Latour presents a concept, the “quasi-objects”—those hybrids that are neither entirely things nor entirely people, but which influence and are influenced by our actions. An object is not just a passive element, but an actor within a network of relationships, and this really changes the way we understand our interaction with the world. It’s curious, isn’t it? At least I think so. I stop thinking of them as just tools for our lives, and start realizing that we also mean something to them. It’s beautiful to stop seeing the relationship with objects as something one-sided. I also like how he redefines “the social.” For me, the concept of the social and of objects is already linked, so what he proposes—that the social is not a separate sphere, but rather the dynamic web of connections between people, objects, ideas, and processes—seems to me one of the most interesting things. In his view, understanding something means looking at those connections and recognizing that the human and the non-human, the local and the global, the traditional and the modern, form inseparable networks. Another topic I find very interesting is how Latour questions the notion of closed and isolated cultures: what we call culture does not exist as an independent block, but as a network of relationships always in contact with others. There is no longer any escape or independence.<img width="1200" height="840" width_o="1200" height_o="840" data-src="https://freight.cargo.site/t/original/i/8cea5055320d850e5e04e6768e2e2577c41ead05354246236267576483ec85a5/realismo-domestico.jpg" data-mid="241873578" border="0" src="https://freight.cargo.site/w/1000/i/8cea5055320d850e5e04e6768e2e2577c41ead05354246236267576483ec85a5/realismo-domestico.jpg" />Title: Against Domestic Realism:Writings on Housing, Gender, Work and Technology / Contra el Realismo DomésticoAuthor: Helen HesterPublisher: Bartlebooth - bartlebooth.org I came across this book thanks to Pablo, a friend who runs Bartlebooth, a very carefully curated publishing project, made with a lot of love. The press focuses on critical annd non-obvious texts. In Against Domestic Realism, Helen Hester challenges the idea that housing and the domestic sphere are natural or neutral spaces. From a critical and feminist perspective, she examines how the home is shaped by gender relations, by the organization of work—especially domestic and care labor—and by technologies that structure everyday life. What I find particularly interesting is her historical analysis of housing and how it transforms as society advances and progresses. Hester shows how domestic models respond to specific social imaginaries: from homes designed for heterosexual marriages with children and the nuclear family, to figures such as the “Playboy apartment,” which embodies ideals of individualism, consumption, masculinity and technology. Housing thus appears as a direct reflection of the social, economic and cultural values of each moment.The book invites us to stop seeing the home as a neutral backdrop for private life and to understand it instead as a historical, political and ideological construction, where ideas about gender, work, technology and progress are materially shaped.<img width="2480" height="1478" width_o="2480" height_o="1478" data-src="https://freight.cargo.site/t/original/i/7938cf8f8d82b55503d3c3974f389af6c4cdf71fc927cd63facd554bcb448b36/el-artesano.jpg" data-mid="248077065" border="0" src="https://freight.cargo.site/w/1000/i/7938cf8f8d82b55503d3c3974f389af6c4cdf71fc927cd63facd554bcb448b36/el-artesano.jpg" />Title: The Craftsman Author: Richard Sennett Publication Year: 2008 El artesano was a gift from my friend Jane Wright, with whom I had the chance to work. With her, I shared reflections, conversations and very interesting discussions about design, objects and the way we understand the world. Conversations that, to this day, I still hold close and deeply miss sharing with her&nbsp; &lt;3 The book is the first in Richard Sennett’s trilogy, followed by Together and Building and Dwelling. I still have the other two pending on my reading list. Sennett argues that doing good work is not only a technical matter, but also an ethical and emotional one, which I find very interesting. For me, the book is basically a historical journey with a lot to learn from, explaining how deep knowledge often comes from time, mistakes and accumulated experience. Even though it was a book that took me quite a while to read, as at times it felt quite dense, I have to say it is a great source of knowledge regarding craftsmanship and trades. More than a fast read, it feels like an essay to be read slowly, underlining ideas along the way. One particularly interesting point is when he connects thought and materiality, defending the idea that intelligence is not separated from the hands. In the end, the book defends something rather simple, yet increasingly forgotten: the importance of time, patience and deep knowledge behind objects and well-made things. https://paulaclaveria.com/bio Sat, 10 Nov 2018 18:26:54 +0000 Paula Clavería https://paulaclaveria.com/bio SELECTED PUBLICATIONS ELLE Decor - Collection Km0 - September 2020 Dezeen - Collection Km0 - August 2020 Neo2 - Collection Km0 - August 2020 AD - Collection Km0 - August 2020 Experimenta - Collection Km0 - August 2020 Sight Unseen - Collection Km0 - August 2020 Revista Interiores - Nuevos Talentos - July 2020 AD - Best of Spain - March 2020 Leibal - Reading chair - January 2020 Vogue Bussines digital - Ese Objeto de Deseo- May 2019 Marie Claire Maison - Ese Objeto de Deseo- April 2019 Ignant - Sisters – March 2019 Sight unseen - Sisters – March 2019 Neo2 - Sisters – March 2019 Icon Design Spain - The Chair - 2019 Neo2 - Mujer, Florero – February 2019 Experimenta – Mujer, Florero&nbsp; - 2019 Diseño interiores – Mujer, Objeto – January 2019 AD Spain – Mujer, objeto – 2018 Neo2 - Mujer, Objeto – October 2018 Icon Design Spain – The Chair – 2018 Arquitectura y diseño – The Chair - 2018 AD Spain – The Chair -&nbsp; April 2018 La Expansión – The Chair – April 2018 SwO Magazine Lithuania - The Chair - 2018 Art Illustrated India – The Chair - 2017 EXHIBITIONS Kilometro Zero - September 2020 IKB 191 - May 2019, Madrid Sisters - OX gallery - March 2019, Barcelona Mujer Florero &nbsp;- Matadero - 2019, Madrid Mujer Objeto - Casabanchel - 2018, Madrid Overload - Gdynia Design Days - 2018, Gdynia Madrid Design Festival - COAM - 2018, Madrid AWARDS Rado Star Prize - Madrid Design Festival - 2018 https://paulaclaveria.com/contact Sun, 11 Nov 2018 20:52:14 +0000 Paula Clavería https://paulaclaveria.com/contact currently based in Galicia, Spain. You can greet me at paula.claveria.contact@gmail.com (+34) 618120845 https://paulaclaveria.com/Arheinm-chair Mon, 08 Apr 2019 21:18:56 +0000 Paula Clavería https://paulaclaveria.com/Arheinm-chair Basic Chair, 2017.A prototype of what we understand as a “chair” — an exploration through shape and reality. This study engages with the morphology, use, and function of the object, while also touching on its humanization and latent sensibility. Influenced by Graham Harman’s Object-Oriented Ontology, the piece questions the role of objects beyond their utility — as entities that possess their own presence, withdrawn yet active. This chair is less about sitting, and more about sensing. A material reflection on standardized shapes, intuitive gesture, and the irrational ways in which we relate to the things around us. <img width="1201" height="1802" width_o="1201" height_o="1802" data-src="https://freight.cargo.site/t/original/i/df230c0ca44dccc1b0bf70c7a358842c1ad98598fe92425a4b514134ea415fe1/basic_chair_web.jpg" data-mid="39749384" border="0" src="https://freight.cargo.site/w/1000/i/df230c0ca44dccc1b0bf70c7a358842c1ad98598fe92425a4b514134ea415fe1/basic_chair_web.jpg" /><img width="1440" height="960" width_o="1440" height_o="960" data-src="https://freight.cargo.site/t/original/i/84228345ec0cceb54cd44039ca877e65e694aa1184ea1e8ba67123a53d8b558f/chair00_relacioncuerpo_4.jpg" data-mid="39749378" border="0" src="https://freight.cargo.site/w/1000/i/84228345ec0cceb54cd44039ca877e65e694aa1184ea1e8ba67123a53d8b558f/chair00_relacioncuerpo_4.jpg" /><img width="1440" height="960" width_o="1440" height_o="960" data-src="https://freight.cargo.site/t/original/i/9eee3c8c63ef9c9ebc88a028ece0eb2be93826aafc1a8895c273ebc2e7309051/chair00_relacioncuerpo_1-copia.jpg" data-mid="39749649" border="0" src="https://freight.cargo.site/w/1000/i/9eee3c8c63ef9c9ebc88a028ece0eb2be93826aafc1a8895c273ebc2e7309051/chair00_relacioncuerpo_1-copia.jpg" /><img width="1440" height="960" width_o="1440" height_o="960" data-src="https://freight.cargo.site/t/original/i/623530745d172ce3f12ef41767065abd15b23a445c9bfb8940e1b28da2daf2af/chair00_relacioncuerpo_3.jpg" data-mid="39749376" border="0" src="https://freight.cargo.site/w/1000/i/623530745d172ce3f12ef41767065abd15b23a445c9bfb8940e1b28da2daf2af/chair00_relacioncuerpo_3.jpg" /> <img width="5304" height="7952" width_o="5304" height_o="7952" data-src="https://freight.cargo.site/t/original/i/23cffb6376d418e88515998dbce86a85ba0945eb3ccbfcc704684159a8987912/JB_00331.jpg" data-mid="229837264" border="0" src="https://freight.cargo.site/w/1000/i/23cffb6376d418e88515998dbce86a85ba0945eb3ccbfcc704684159a8987912/JB_00331.jpg" /> Basic Chair, showcased during Paris Design Week 2024 at the Boon Room Gallery in Paris. Exhibited alongside stunning works by A-N-D Lights, Dining Table by Rebecca Ackaert, and Sculpture by Léa Munsch. ⧉ Photography by: Studio Brinth https://paulaclaveria.com/Kandinsky Sun, 11 Nov 2018 20:52:13 +0000 Paula Clavería https://paulaclaveria.com/Kandinsky The Chair "Intelligent furniture does not provide answers; it simply asks the user a question." This project examines the use of an everyday object—the chair—through its morphology, function, structure, and the interaction it fosters with its user. Rational and irrational uses converge, humanizing the object while engaging with spatial theories. Practical exercises challenge how the body relates to the object, especially when the object itself is absent. The function persists, but the shape transforms. (Text by Gdynia Design Days catalogue) <img width="1440" height="960" width_o="1440" height_o="960" data-src="https://freight.cargo.site/t/original/i/e62691aaec95a60e802c00a14638f5cc05ba8e1afb229cd227cf8a661c1f443e/the_chair_web.jpg" data-mid="42546060" border="0" src="https://freight.cargo.site/w/1000/i/e62691aaec95a60e802c00a14638f5cc05ba8e1afb229cd227cf8a661c1f443e/the_chair_web.jpg" /><img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/85ef9b90efcbb9533b2d7817b555ca28a612ef57725bb01c100365622d92fc8f/RADO_paulaclaveria_04.jpg" data-mid="39750225" border="0" src="https://freight.cargo.site/w/1000/i/85ef9b90efcbb9533b2d7817b555ca28a612ef57725bb01c100365622d92fc8f/RADO_paulaclaveria_04.jpg" /><img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/919054681df0ee6bb54b670ef334846caba47ecfdb1117c487a1c45b70d950ca/GDD18_wystawy_overload_020_fot.m.szymonczyk..jpg" data-mid="39750546" border="0" src="https://freight.cargo.site/w/1000/i/919054681df0ee6bb54b670ef334846caba47ecfdb1117c487a1c45b70d950ca/GDD18_wystawy_overload_020_fot.m.szymonczyk..jpg" /> Exhibited in COAM, curated by Madrid Design Festival, 2017, Madrid, Spain | Exhibited in Gdynia Design Days, curated by Dorota Stepniak, 2017, Gdynia, Poland. The tool: Theories of abstraction and geometry.Photo: Overload Exhibition, Gdynia Design Days. Curated by Dorota Stepniak. https://paulaclaveria.com/Reading-chair Mon, 08 Apr 2019 21:18:55 +0000 Paula Clavería https://paulaclaveria.com/Reading-chair Reading seat, 2019. Besides a tribute, it is also conceived as a criticism of the few female references throughout the history of design. Deconstructing it to abstract its form, leaving only the soul, gives rise to a social criticism about common, figurative and stipulated forms and how society perceives them and rejects them from their daily lives if these forms do not fall within their normality. Rejecting these different forms to the point of granting the uselessness to a being or object useful. Study about the shapes, the visual tension and balance.Deconstruction of the LC4, inspired by the first stage of Charlotte Perriand, with a frozen aesthetic and machinist feel, using industrial techniques and materials.<img width="2699" height="1800" width_o="2699" height_o="1800" data-src="https://freight.cargo.site/t/original/i/98a2d44159e1f04c1658cfc20bac17464b64bcb9676e64cbe2a723e30573bcc4/Reading-seat-by-Paula-Claveria_Photo-Ampi-Aristu_01.jpg" data-mid="39560917" border="0" src="https://freight.cargo.site/w/1000/i/98a2d44159e1f04c1658cfc20bac17464b64bcb9676e64cbe2a723e30573bcc4/Reading-seat-by-Paula-Claveria_Photo-Ampi-Aristu_01.jpg" /><img width="1201" height="1800" width_o="1201" height_o="1800" data-src="https://freight.cargo.site/t/original/i/7d5700f2bfe1f033f22d1bdb4b9658fe058c6fe3b3d673a19903608f1238a37a/Reading-seat-by-Paula-Claveria_Photo-Ampi-Aristu_02.jpg" data-mid="39560920" border="0" src="https://freight.cargo.site/w/1000/i/7d5700f2bfe1f033f22d1bdb4b9658fe058c6fe3b3d673a19903608f1238a37a/Reading-seat-by-Paula-Claveria_Photo-Ampi-Aristu_02.jpg" /><img width="6016" height="4016" width_o="6016" height_o="4016" data-src="https://freight.cargo.site/t/original/i/c84d22772e5fd6a467ec3a68e2f4009422bf8293b4c82b32972afb33875db465/SOX0029.jpg" data-mid="39561080" border="0" src="https://freight.cargo.site/w/1000/i/c84d22772e5fd6a467ec3a68e2f4009422bf8293b4c82b32972afb33875db465/SOX0029.jpg" /> Exhibited in Sisters curated by Sanna Völker, Ox Gallery, 2019 in Barcelona, Spain Exhibited in IKB 191 curated by Marta Valea, 2019 in Madrid, Spain https://paulaclaveria.com/soledad Sun, 11 Nov 2018 20:53:53 +0000 Paula Clavería https://paulaclaveria.com/soledad Study of the Humanization of Shapes, 2018. The figurative is abstracted, and the new shape emerge as extensions of the body. These shapes are connected through the search for protection, serving as tools for support and rest, born out of a sense of instability. ⧉ Photography by: Ana Vázquez⧉ Performance by: María Vela <img width="1365" height="2048" width_o="1365" height_o="2048" data-src="https://freight.cargo.site/t/original/i/616f59495ecb2c42c4c5be6e21103f7c4f6745d76235783056c8770374422074/Paula_Claveria_concepto_07.jpg" data-mid="39751000" border="0" src="https://freight.cargo.site/w/1000/i/616f59495ecb2c42c4c5be6e21103f7c4f6745d76235783056c8770374422074/Paula_Claveria_concepto_07.jpg" /><img width="864" height="1296" width_o="864" height_o="1296" data-src="https://freight.cargo.site/t/original/i/0adec884715efe21e25be05930a5f15e998ac0396d3549c66c2dfe2fc458cd9f/soledad2.jpg" data-mid="42540198" border="0" src="https://freight.cargo.site/w/864/i/0adec884715efe21e25be05930a5f15e998ac0396d3549c66c2dfe2fc458cd9f/soledad2.jpg" /><img width="864" height="1296" width_o="864" height_o="1296" data-src="https://freight.cargo.site/t/original/i/0468296cdad6c87cdad29ea93ebf7c5404acc69e5867269e715a0171560b7155/soledad7.jpg" data-mid="42540205" border="0" src="https://freight.cargo.site/w/864/i/0468296cdad6c87cdad29ea93ebf7c5404acc69e5867269e715a0171560b7155/soledad7.jpg" /> <img width="864" height="1296" width_o="864" height_o="1296" data-src="https://freight.cargo.site/t/original/i/2b5a4dbb8f61ab34308b3ad6b83f40a703b113623cd0b75eb4b3d982ac0c6ddd/soledad9.jpg" data-mid="39751915" border="0" src="https://freight.cargo.site/w/864/i/2b5a4dbb8f61ab34308b3ad6b83f40a703b113623cd0b75eb4b3d982ac0c6ddd/soledad9.jpg" /><img width="864" height="1296" width_o="864" height_o="1296" data-src="https://freight.cargo.site/t/original/i/d86a011e4142fbdff92434a23f2a2dfb01ce78086f92556e7bd5d858f1efd253/soledad1.jpg" data-mid="42540228" border="0" src="https://freight.cargo.site/w/864/i/d86a011e4142fbdff92434a23f2a2dfb01ce78086f92556e7bd5d858f1efd253/soledad1.jpg" /> The prototype was exhibited in Mujer, Objeto, a collective exhibition showcasing the work of 17 emerging women in the fields of design, architecture, and visual arts, all with diverse practices around the creation of objects. Curated by Claudia Paredes y Teresa Fernandez Pello. https://paulaclaveria.com/chair-to-wait Sun, 11 Nov 2018 20:53:53 +0000 Paula Clavería https://paulaclaveria.com/chair-to-wait Something to Wait for Something An exercise to understand how the body responds to waiting.A study of the body’s behavior in moments of pause and anticipation. <img width="4000" height="6000" width_o="4000" height_o="6000" data-src="https://freight.cargo.site/t/original/i/f6a01dfd172582e0f19e11243da119966fbff62125d56a92fc3aca0ca5d06c07/minimalissimo_01.jpg" data-mid="39750800" border="0" src="https://freight.cargo.site/w/1000/i/f6a01dfd172582e0f19e11243da119966fbff62125d56a92fc3aca0ca5d06c07/minimalissimo_01.jpg" /><img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/78cb43bed1107628fef5e82292d91c59c5c78eb57de993ae42c25d22192e24a7/minimalissimo_02.jpg" data-mid="39750801" border="0" src="https://freight.cargo.site/w/1000/i/78cb43bed1107628fef5e82292d91c59c5c78eb57de993ae42c25d22192e24a7/minimalissimo_02.jpg" /> <img width="5253" height="3503" width_o="5253" height_o="3503" data-src="https://freight.cargo.site/t/original/i/3d1e7d0ff649b087e15f40e81704abd338eb7425e07e1b4350c492551081f92d/PaulaClaveria_ChairToWait_GS_07.jpg" data-mid="87318705" border="0" src="https://freight.cargo.site/w/1000/i/3d1e7d0ff649b087e15f40e81704abd338eb7425e07e1b4350c492551081f92d/PaulaClaveria_ChairToWait_GS_07.jpg" /> https://paulaclaveria.com/Mujer-florero Mon, 08 Apr 2019 21:18:56 +0000 Paula Clavería https://paulaclaveria.com/Mujer-florero Reflexion Study&nbsp;Container Object, 2019. This piece is born from a reflection on the social reification of women, creating a literary parallel between two beings that have been silenced: the woman and the flower. "The one who recognized the beauty and power of the flower chose to contemplate it—and to possess it. In doing so, whether aware or not, he cut its root and caused its death. The same occurred when that same figure stripped his partner of her greatest virtues, displaying her without choice or voice, as a relic of his possession." The object expresses this concept. It frames femininity, seemingly glorifying it, while simultaneously exposing its contradiction: a body immobilized, made uncomfortable, legs spread—drawing attention to the two most traditionally revered feminine traits—beauty and reproductive capacity. The being is not present. What remains is the image: a container.A reflection that generates an object stripped of agency, transformed into an aesthetic element, contemplated solely for its beauty. <img width="6092" height="4066" width_o="6092" height_o="4066" data-src="https://freight.cargo.site/t/original/i/b9afa8b7b44754b29eff26eed871c235eac9ad07c6777c6652ac5510fd443c14/09.jpg" data-mid="39564684" border="0" src="https://freight.cargo.site/w/1000/i/b9afa8b7b44754b29eff26eed871c235eac9ad07c6777c6652ac5510fd443c14/09.jpg" /><img width="1200" height="1600" width_o="1200" height_o="1600" data-src="https://freight.cargo.site/t/original/i/a177cd16328cca2ec66bc6992bcfda06dac6171bcde99cb2e4f445e1b0cfe48f/Paulaclaveria3.jpeg" data-mid="39564692" border="0" src="https://freight.cargo.site/w/1000/i/a177cd16328cca2ec66bc6992bcfda06dac6171bcde99cb2e4f445e1b0cfe48f/Paulaclaveria3.jpeg" /> &nbsp; Exhibited in Mujer, Florero, Dimad, Matadero, Madrid, 2019, Spain.Curated by Teresa Fernández Pello and Claudia Paredes.Art Direction &amp; Graphic Design by Nina Muro.