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Recortes, fragmentos, universos is an invitation to reflect on the relationship between the whole and the fragmentary, between the collective and the individual. María Bravo presents a selection of works that engage with questions of the body and its (im)possible fragmentation, evoking some of the scientific and philosophical debates that have occupied so many chapters throughout history. The surprise lies in her choice of materials: almost weightless, yet endowed with a stage-like presence that unsettles and opens new lines of inquiry. The gesture is firm, while the unexpected subtlety that sustains it draws us toward a hybrid language brimming with questions. Can a fragmented body retain its essence? How does a fragmentary vision of the world shape its understanding? Is the fragment a sine qua non condition for knowledge?

Carne recortable maps a surgical landscape that, nevertheless, takes the form of a poetic mantle of Japanese paper—printed, embroidered, and stitched with red threads that allude to tiny bloodied fragments of human anatomy. This hybridization of scientific and artistic discourse is a constant in the artist’s work, nourished by her own life experience spanning both worlds. Similarly, Cuerpo único reflects a complex understanding of being and of the universe, where the notions of totality and fragmentation are both questioned. In his Monadology, Leibniz imagined a world in which each of the individual substances that compose the universe—unique, indestructible, dynamic—served as a reflection of the whole. Here, the small organic beings invented by the artist and placed in a reticular universe compose a vast living organism that reveals the ways in which we compartmentalize, classify, and collect our knowledge of the world.

La hora del té introduces the element of space-time into the exhibition. Through everyday materials laden with symbolism, the artist explores the illusory character of memory and of time in this three-part sculptural work. Cuttings, Fragments, Universes unfolds as a journey without a marked beginning or end, where delicate papers—engraved, embroidered, and intervened—reflect the procedural nature of knowledge and experience. Harmony and exploration go hand in hand in this suggestive ensemble of expanded printmaking.

Marina Avia Estrada. Curator