Mari Claudia García

Mari Claudia García’s artwork Una llave que abre cualquier puerta es buena, pero una puerta que se abre con cualquier llave es mala (A key that opens any door is a good one, while a door that can be opened with any key is a bad one) was exhibited at Luz y Oficios Gallery in a group show titled Ático in 2011. This masterpiece has only one edition and is property of the art collector José Busto, who has sponsored another Mari Claudia’s pieces too. About this artwork Dr. Magaly Espinosa (Curator and art critic) said:

[…] The pieces that make up the series Del consumo a la comunicación y viceversa (From consumption to communication and viceversa) are identified by that combination of strength and fragility through different levels of meaning. Let’s take, for example, the piece entitled Una llave que abre cualquier puerta es buena, pero una puerta que se abre con cualquier llave es mala (A key that opens any door is a good one, while a door that can be opened with any key is a bad one), consisting on a bunch of identical keys, and only one has the word “Happiness” engraved. The aspect of the object, the bunch of keys in this case, is kept intact; moreover, its utilitarian function can be discerned. The key continues to be what its name designates, but only one of them takes us to the main destination in our life. Every decision we take, the whole of our actions go in that direction, and the artist seems to tell us that getting to that destination requires many doors to be opened, but these doors are not always the ones that will conduct us to the desired end.

The various sense levels articulated in the piece serve to spread the message, a mixture of philosophical meditation and popular wisdom. Hence, among text, physical object and title, a balance is established, condensing meanings not exhausted in the physical presence of the object […]. ¹

In the statement of this artwork Mari Claudia quoted:

The subject of happiness in the art piece is not seen from the perspective of understanding, or of its nature; therefore, the look is not an intimist one or the discourse analytical. It is not trying to elucidate what happiness is (with the variations it may have depending on personal or collective aspirations, contextual, historical or cultural factors, etc.), but to present the human desire of reaching it. The artwork is more about the feelings previous to the search motivated to find it, during the totality of the short earthly life.

I find very attractive the fact that the search for happiness can turn obsessive and become just the opposite: Suffering. There are several philosophical currents stating that man is not meant for happiness but that he is destined to suffering.

1. Magaly Espinosa, “Mari Claudia García: Weakness and Strength.” CdeCuba.