This collection of art works  (2005 -2009) was born out of my need of discovering a personal objective perspective, while I am surrounded by a world designed by conflicts and tensions.

These works were created during intervals of pure creative time, small oasis in my agenda full of obligations and compromises. They are visual experiments and simple creative games, inspired by a strong desire of combining (without censoring) diverse materials from a daily life with feelings and thoughts.

Letting free my visual voice, I processed myself in present tense, wanting to have the courage to ask questions. By not caring about speaking in a logic or rational context, I was looking for a way to be aware, flowing with metaphoric humor while letting myself be, if necessary, extravagant and crude.

This internal dialogue, externally represented in three-dimensional composition, comes from a private and existential place inside me, where words and objects mix together. In this place I find that painting and poetry can be interlaced in symbolic and autodidactic collages influenced by childhood recollections, language, forbidden memories, wishes, opinions, philosophy, and hidden fantasies.

While I played with things in a hybrid style that would not be manifested in any other way, I searched for non-dual aesthetics (neither beautiful nor ugly) and I created objects that simply are what they are. So I guess that each of these works is a small chapter of my thoughts, materialized in canvas of personal history that I told and revealed innocently on a colorful stage. As an adult, this can only exist for me in a space of art.

Laura Werbin

g a l l e r y  4

The first doll (4-01) is the golden doll, dressed as the Oscar statue or similar, concealed in the symbol she personalizes and trapped inside it uncombed and untidy.

This statue, while asking herself where is the real place of glory and success and standing between two imperfect mirrors made of false gold, stares at us waiting for an answer and shows us who she is.

Then we see five plastic dolls (4-02, 4-03, 4-04, 4-05, 4-06) standing on cubic pedestals made of rustic wood.

Each one of them in her own way, already far away different from her original images of perfect woman tries to materialize her individual free essence, in spite of the obstacles and restrictions that are holding her and that simultaneously support her from falling from her pedestal.

These five dolls try to maintain the fragile balance between being dolls (perfect) and being human (imperfect) and between coming out but without falling.

In 4-07, the plastic doll painted in blue, we see time and experience signs marking her with an imperfection stamp. This doll is hanging from a parachute, coming down without fear, carrying in her back a blue paint tank, cobalt blue as herself.

In her origins this doll was a normal plastic doll, similar to the others, but now, in the present she is different, she is stained with mud, has grey hair and she is landing smoothly, showing herself as she is, without the need of being perfect, or of knowing her own fate.

The next sculpture (4-08) is  composed of a female plastic doll and a male plastic doll. The female is lying down and tied to a clothes hanger.

The male doll, in spite of his physical and heroic toy strength, is immobilized and attached to an upside down canvas frame. 

They are connected through strings, but there is an abyss between them. The female doll on the hanger arouses in us the doubt about her situation. Is she a victim or she is simply tied up to the hanger because of her own comfort? Or maybe… her stuck situation is a mixture of both?

The male doll is holding a plastic flower in his hand.

Obviously, for our imagination that flower should be handed over to her, the female doll. But in reality, his immobile statue masculinity reflects only his impotence and passivity, and his real desire is sadly frozen in eternal fantasy that never truly manifests.

This element highlights the distance created between them. The female doll knows about the existence of the male doll and there is balance, but the Aesthetics of the Impossible, the Framed and the Virtual, is stronger than the possibility of a real encounter that would break apart the perfection of Utopia.

The wooden brushes hanging from the canvas frame, to which the male is attached, are the titles for the text that would be the creative work needed for a relationship, and at the same time are the tools that if they would be used, could create a different kind of harmony.

Altogether, the hanger with the woman doll, the canvas frame with the male doll, the strings that binds them and the tools, in total they form a shield, something similar to an American Indian's dream catcher.

The female doll and the male doll, as a detail and as a metaphor and because of how they are positioned in space (the woman with the head at the right and the man with the head at the left), remind us of the Chinese Yin-Yang symbol, the balance between female and male energy.

The doll in pink (4-09) is framed, enclosed, and a little bit forgotten. She is blond, clean, dressed in pink and attached to a pink canvas background, as a perfect piece of art.

Laura Werbin