Agua Malva gathers kindred materialities, objects that emerge from common substrates, but that getting affected by physical erosion and human interference transform their states and functions. Sea shells, food leftovers, bent steel and cooper structures, stained and blown glass, nacreous bodies and mirroring surfaces inhabit and exceed the domestic edges of a house that in the same mutable spirit has been morphing the last ten years to host artistic encounters. Elizabeth Burmann's removals, incrustations and growths, intervenes the gallery exposing those material phenomenas in continuous transformations.
In fabulation-with the color mauve –the first comercialized synthetic dye, accidentally discovered in 1856–, the detoxifying, glutinous virtues of the flower with the same name and the corporeal mélange of watery beings, Agua Malva, leaks into contemporary aseptic surfaces, and builds up carrying the disturbed materiality of current environmental excesses. Burmann’s crafts generates attention to details that bloom from processes of accumulation and decay.
There was a time in this gallery-house when shells dwelled around, and it could be that shells will propagate it again in the future. The wooden floor is an ocean and a midden. At the windows, we are supposed to see-through, look out there and sometimes let bits of the exterior come in. Instead, If we prefer to stick ourselves to the frozen viscosity of glass, the pulverized remains of tiny shells and silica creatures will appear from a hidden realm. This cannot be seen with human eyes, but it's possible to gently attend to their process and welcome them to the house.
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