At the centre of the exhibition is a sequence of ceramics produced in Guadalajara, Mexico, which illustrate the event of a triangular tube turning itself inside out. The seemingly successive motion is ‘trapped’ here in eight stages, and as it changes the apex points of the triangular form remain strong, prohibiting the form from completely escaping its underlying structure. The geometric substance is effectually curvaceous, body-like, if not erotic, within the interstitial moments of the series. As ascertained in similar endeavours to document motion, such as the animal locomotion studies done by Eadweard Muybridge, this work triumphs observation and experimentation.

Beside this series, Zorrilla presents recent sculptural and photographic works. Similar to the ceramics, the main consideration is the existence, and at times negation, of the body–the very fleshly and organic condition that wonders and consumes the viewer. While the artist maintains an aphoristic relationship to the formation of works, it resists rational or didactic pretenses. With the overarching interest in ‘being beside of’ a thing, place, or thought, the work at large takes root in what philosopher Jean-Luc Nancy has variously defined as a corpus: ‘a list of gleanings, in random order and completeness, an ongoing stammer of bits and pieces, partes extra partes, a juxtaposition without articulation, a variety, a mix that won’t explode or implode, vague in its ordering, always extendable [...].’¹

¹ Excerpt from Corpus by Jean-Luc Nancy (1992).

Courtesy Galerie Greta Meert