It is usually said that the world has been aesthetically colonized, that its immediacy has been reduced to the roundness of an image, and that the empirical indices of reality have been replaced by a constant search of holds, bends and life. Frequently, Mabel Poblet’s oeuvre makes explode such paranoia of pretended emptiness.
She uses artistic presumption as a tool; readiness, as the first spring of images; seduction proclamation as order; the construction of a subtle delicacy and the thorough use of a meticulous technique are the roots of her artistic vision and her discourse. That is her sign, and eventually, her speech. Thus, appearance, and its power as a shield, are the core of her artistic procedure.
Her starting point is photographic manipulation. She uses for it the insertion of already printed tiny and polite flowers. As if it were a garden, she covers the surface with them, building an insulating skin for it. This apparently utopic gesture of camouflaging everyday pathetic and painful contents, irresolute contradictions and injuries, with the shining of prompt gardens is actually dystopian. The enunciation of an artificial, sweetened and apparently full world turns to be a horrifying image. Everything is scenically overwhelming in such artificial world of little tiles, mechanical wings and plastic flowers.
Femininity beats in every inch; it is felt as a presentiment. And it is not because Poblet’s objective is to exorcize gender issues or to vindicate silences. She projects herself emotionally over the world to unfold the inner consciousness of things, so her discourse is, over all, self-referential.
We will also find her resolute in the practice of installation. In this field, she makes possible for the audience to interact with the artwork, as well as she enables the violation of the limits between art and man, the relationship between public and private spaces, and between what is allowable and politically correct. She has been greatly influenced by the procedure of Fluxus: interaction and diversion are the springs to make possible a renewed experience about the world from the spaces offered by art.
Photography slips between painting and installation, while installation is related to happening and sculpture. Mabel Poblet sticks to the postmodern politics of extending artistic practices and works in the search for effective instrumentation.