In the exhibition El rumor de las cosas, the works of Mariana Paniagua and Natalia Ramos converge in a shared territory: the fragment, the vulnerable membrane, and the layers of time that shape our inner worlds.
Through her paintings —a singular alchemy of acrylic, oil, and encaustic— Mariana summons waves of darkness, whispers carried by wind and light. Similarly, her poems pulse with the invisible; verses that, inscribed within her pictorial project, expand the notion of an ecosystem: layers of accumulated materiality, remnants of what once was, forces in collision that insist on surfacing.
Natalia, in turn, approaches the fragment as a site of meaning. She does not seek wholeness but rather affirms tension —between presence and absence, contour and void— through ceramic forms that act as emotional membranes, sculptural skins that hold unresolved states, doubts, and contradictions. Clay here is neither mass nor monument, but a precarious, vulnerable skin that contains: shoes, pendants, organic fragments that evoke tongues, tears, legs, corsets; traces of an intimate body that is there and not there.
In this encounter, fragment and wave, membrane and wind coexist in poetic tension. The works breathe between the spoken and the unspoken, between disintegration and the quiet opening toward what may bloom beyond the limit.