Plasticity and sediment; memory and erosion.

"Men desire the eternal and seek happiness in what is ephemeral, just as the river that tries to stop and, in its fury, destroys its course and its banks."

Jacopo Sannazaro (Naples, Italy, 1504)

Miren Doiz, one of the most disturbing voices of Spanish contemporary art, presents in this new exhibition a series of assemblages that oscillate between aesthetic creation and ecological sensitivity. The artist takes as a starting point the concept of "solastalgia", that emotional discomfort caused by seeing how nature degrades under the influence of human decadence, to evoke a territory of mourning and resistance. Thus, Doiz's work becomes a space where nature and waste converge, revealing the weight of human intervention.

In each piece, found materials -recycled objects, industrial fragments and vestiges of excessive consumption- merge with pictorial elements to give shape to hybrid bodies that defy the traditional categories of sculpture and painting. Doiz employs a technique that captures, through the intense plasticity of his forms, a sense of erosion: this process seems to be the core of his imagery. Thus, his assemblages stand as witnesses of a degraded ecosystem, where each fragment exudes the burden of a nature in perpetual transformation and threat of collapse.

By working with discarded materials, Doiz introduces an ethical dimension to his artistic practice, questioning the relationship of consumption and waste that defines modernity. By recycling these remnants, he not only creates art, but transforms contemplation into introspection, inviting us to reflect on the vestiges we leave behind, both physical and symbolic. He proposes an exercise in consciousness about how our decisions and our legacy affect the landscapes of the future.

Doiz creates, in this exhibition, an emotional landscape where the fragility of nature is juxtaposed with the hardness of recycled materials; in this environment, the aesthetics of the fragmented and variegated takes on an almost ritualistic sense. His works remind us that the beauty of the world hangs in precarious balance and that our relationship with it can still be defined. It is an invitation, ultimately, to rethink our traces and to see the scars of nature not as defeats, but as alerts to a possible reconciliation.

Around the concept of Arcadia, Doiz establishes an ironic counterpoint to the utopian aspirations of the human being's relationship with nature. Arcadia, that pastoral paradise of peace and harmony idealized for centuries, is here a reference loaded with irony: in his work, Arcadia is no longer a fertile refuge, but a mirage that expresses the frustration of modern utopias in the face of postmodern contradictions. Doiz confronts us, instead of green and placid landscapes, with a world where Arcadia has become a barren and hostile land, a space marked by scars and debts derived from excessive progress.