Making possible the encounter with an extraordinary experience, capable of detonating everyday life and filling it with that false light that attracts human beings as fatal victims, that is risky. Gabriela García surrenders to that determination with extreme delicacy. From the possibilities offered by installation and photography, she explores the interstices of human existence to give them the hope that nourishes it, in a gesture that eludes the scape. It is the concept of discovery and a heap of sensations that accompany it. It is a construction, the substitution of the natural order by a similar experience that tends to fantasy. It is elementary alienation. It is man and his fear before the delirium.
Sublimity is an excessively perverse experience. Thus Alice appears waking up in an unknown land, the surface of the sea placed over the shield of the sky, a shadow, a trace, a deposit. All those are strategies to catch man, seduce him and throw him to the uncertain ground of mirages. Simulation subverts the logical organization of the universe, just as ancient myths of overtones and coolness used to do. Gabriela García, through her artistic procedure, recreates every time a megalomaniac performance where fantasy, wounded and about to die, leaves behind the ravages of a cruel reality. She annuls the fullness of the runaway with her sublime simulation and caresses the waist to human mediocrity.
