Paz de la Huerta presents her second solo exhibition, Sacrifice, with Ruttkowski;68 in Berlin, in collaboration with Reference Studios.
Paz de la Huerta adopted herself, she did it in the placenta of painting, hers, in the womb of her own inner story. In order to fill, recompose the absence of other people’s love, in the absence of family, maternal and paternal warmth. Paz finally chose to show herself as the daughter of Paz herself. In a now and always autobiographical representation. In her own pain, in her own beauty, in her own broken heart, there is her, Paz. Her painting is essential, barbaric, instinctive, brutal, immediate, trance-like, recalling imprints of her childhood dreams. In fact, Paz has remained intact in the magical and painful domain of her childhood, magical yet at the same time dramatic, almost as if the advent of adolescent fullness has yet to take place, take place in her, inside her, Paz.
Paz, or of beauty shown carelessly, helpless nudity flaunted as a heroine would do, a martyr of Body Art. Paz who represents herself in a pre-fetal state, almost as if Paz, having overcome the time of pain and solitude, still has to come to the world, but in the meantime is there to await her own birth. The dense color on the surface of her paintings, almost as if every image is dictated to her, whispered by the ideal inner infant who lives within her, far from any worldly light, far from the glamor that nonetheless brightly marks her in her public history as an unattainable diva and rebellious. In fact, it seems that every image of her that appears on the canvas responds to a gospel, the Gospel of Paz, of her, of the religious story of her, mystical her, which finally makes her as absolute as Marilyn already was in the story of her own suffering. Paz Madonna herself, absorbed in a fetal dream, waiting, in fact, to come into the world, Paz who gives herself the gift of her own love, of the enchantment of beauty, Paz virgin and martyr of Hollywood. Paz angel.
