The photographs that make up "Los días en los que fui una polilla diurna" were taken during 10 days of confinement. From the beginning, the process and the taking take place in the form of a diary, from the intuitive and the impulsive. It is later when they take shape, through the dialogue between images and the conceptualization of the body of work.

 

The exhibition is proposed through the two spaces offered by the gallery: one more exterior and the other more interior. The project is therefore divided into these two phases. A first one in which we find images that approach in a more distant and slower way to space and time, in which the relationship of the body with them is somewhat uncomfortable, prevailing repetition. The second room, more interior, will be occupied by those closer, intimate and naked images, in which this space-body-time relationship is more similar to a symbiosis. The body identifies with the other and becomes part of space, time and the objects that surround it.

 

Paula Yubero inhabits the world-space through her things and through photography, which, being analogical, is also something else for her.

Paula collects images or small wounded bugs, stuffed, with broken wings. Like her photography, the bugs are very, very delicate and have a ritual: they cannot be picked up or looked at in any way.

To look at a bug, you have to look closely but without touching it, almost squinting. To get to know it, you have to see it in its habitat, the only place where the light of a firefly would not be extinguished.

One becomes what one treasures. In La muerte de la polilla, through the self-portrait and the still life, Paula is already image and is already bug.

 

"What was left for her, except to fly to a third corner and then to a fourth?" ( excerpt from Virginia Woolf's The Death of the Moth, which gives the title to this exhibition).

 

In the days she spent locked up in the room, she kept what she saw, to later transform it into something she could look at again and move her space-room wherever she wanted.

 

By Laura C. Vela, June 2022