Paulina Cerda

Paulina Cerda is a Chilean visual artist whose work lies between abstraction, materiality, and the illusion of three-dimensional space. Her practice begins with gesture and mark-making as a point of origin, using painting to construct surfaces that transcend the plane and function as active perceptual spaces. One of the key aspects of her work is the use of multiple layers of acrylic to generate depth, light, and shadows that suggest volume and physical presence without abandoning bidimensionality. Throughout her career, the painterly gesture has evolved from suspended and compact forms towards more fragile fragmentations, exploring the memory of movement and the persistence of what breaks. Her work is characterized by a solid coherence between process, form, and content, resulting in an abstraction that does not represent images, but rather constructs visual experiences that are activated by time and the viewer's gaze.

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11.65

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19.15 %

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The Form of the Echo

An echo is not just a sound that returns; it is memory vibrating in another time, it is the form that what has passed takes when it reaches us again. In this exhibition, matter embodies that echo through fragments that seem to float in a suspended instant. From the material to the intimate, from the abstract to the symbolic, her work becomes an echo that returns transformed: laden with emotions, atmospheres, and traces that reveal the beauty of imperfection. The form of the echo reveals through these poetic images the profound connection between imagination, matter, and human experience. The fragment is not just a broken object, but a remnant that contains history and narrative, and that in turn claims presence and a gaze. If before the artist Paulina Cerda invited us to look at the skin of things, now she proposes that we enter their fissures, listen to their echoes, and recognize the power of each fragment.

Flying Series

Flying Series is installed in the instant before the image: that suspended moment where the pictorial gesture has not yet fully set. Paulina Cerdá translates the brushstroke's movement into floating volume, giving substance to energy in transit. Here, forms do not obey rigid limits or structures. They vibrate, expand, levitate between the abstract and the real, like impulses arrested in mid-flight. These paintings celebrate the ambiguity of the gesture: its force and its pause, its imminence and its suspension. A tribute to form in its freest state, when it has not yet chosen a destination.

Volume Series

In Volume Series, the artist proposes a poetics of the minimal and the suspended. Each work captures the exact instant when a drop does not fall or a flow remains stopped, defying the logic of time and weight. Paulina Cerdá transforms the pictorial gesture into arrested matter, turning the pictorial into object and the objectual into illusion. The forms seem to sprout from the canvas with surgical precision, like autonomous densities. Here, painting becomes volume and volume becomes mystery: a meditation on the imperceptible, on what goes unnoticed but contains a profound vibration.

Abstraction

Paulina Cerdá's abstraction does not seek to enclose meanings, but to open spaces. Through layered compositions, the artist builds expansive atmospheres where forms float, dissolve, or emerge from breathing backgrounds. These works have no center or definitive edge: they inhabit ambiguity, where the full and the empty, the affirmed and the hinted, coexist. Shadows do not follow the logic of light, but that of the soul. The gesture is interrupted or repeated, configuring internal rhythms that guide us without imposing themselves. More than representing, these paintings evoke: a sensitive vibration offered as an open spatial experience, always in transit.

Through the Glass Series

In Through the Glass Series, Paulina Cerdá transcends the traditional limits of the pictorial plane, incorporating glass and frame as active surfaces. The artist creates a subtle dialogue between the pictorial and the material by intervening with new layers on already finished works. The result is a play of transparencies, projected shadows, and reliefs that transform the viewer's perception. Here, the painting literally passes through the glass, projecting its energy beyond the support. The work becomes volume, the shadow becomes gesture, and the gaze is forced to shift. This series confronts us with an expanded painting, where the container is also content, and where each layer activates a different dimension of the image.