As we subscribe to the idea of the body as a vessel to temporarily hold that unalterable thing called substance, soul or spirit, the value of the body is defined by its capacity to contain something important, but in itself, it is anodyne.

In its condition of containing and finite, we could propose the box as a simile of the body, where what deserves attention is what it contains. However, Priscilla González concentrates on the container, placing the cardboard box as the protagonist. She observes the marks that show its path and turn these industrially manufactured objects singular, to subsequently reproduce them by hand, in an exercise of recognition of beauty in the material and in the imperfect. With ceramics and paper pulp, she presents us again the cardboard out of its habit, and clay out of its pot.

Ceramics, a recent technique for the artist, is added to her work on paper, paint and textiles, continuing her interest in long processes that require waiting, and where the duality of a fragile appearance and the protective capacity of an ephemeral material is evident.

What is the place of everyday objects? What is the place of the body? What is the place of matter? Immersed in concepts and substances, Priscilla González invites us to value all those labors and utensils of the mundane, and to ask ourselves if life is really in the intangible.