Anita Molinero

Mirror Pool

Floraisons pour Nollopa

The work of Anita Molinero is made of daily-life items transformed by a creative and fun energy. Using the power of flames, she creates new forms from what is ordinary. Anita Molinero stage five sculptural compositions in the center of the Mirror Pool which appear to float over the water in the style of baroque elevations.

Presentation of the artist’s work by the curator of the exhibition


Floraisons pour Nollopa

© EPV / Thomas Garnier

Mirror Pool

Located at the bottom of the King’s Garden, the Mirror Pool is also called “vertugadin” because of its shape which reminds the dresses’ form at the beginning of the XVIIth century. It is the only remaining element of the initial setting.

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About the work

This work by Anita Molinero set in the Mirror Pool is comprised of five sculptural compositions of melted red PVC bins. “To me, these ordinary objects constitute what I would call ‘the bare minimum and that which is sufficient’ required to create the paradigm of my sculpture. The bare minimum, the ordinary, and the transversal are represented by the rubbish-bin element. That which is sufficient, which is arrogant, is represented by the colour red, on one hand, and by the act of bringing together and elevating these two specificities in a sculpture. The fountain is my representation of the accomplished world.” These plastic stalagmites—echoing the statues surrounding the pool— appear to float over the water in the style of baroque elevations. Their reflection in the water refers to the title of the installation Floraisons pour Nollopa (Blooming for Nollopa), being the relection of the French spelling for Apollo, the only sculpture of a masculine figure at the pool.

About the artist

Born in 1953 in Floirac, France, Anita Molinero lives and works in Paris, France.

While Anita Molinero favours the energy of the sculptural gesture and improvisation, she continually returns to the fundamental principles of sculpture: weight and mass, fullness and emptiness, the base, the volume, and so forth. Creating her first sculptures from found objects and materials, Molinero later chose to add to these forms the irreversible power of gesture. To this end, she adopted the use of plastic and an array of toxic materials that she cuts, burns, lacerates, and sculpts. The artist works with heterogeneous elements taken from daily life, and takes a flamethrower to containers, rubbish bins, boxes, toys, and car headlights. Under these extreme temperatures, the elements are transformed, generating a variety of forms: bubbles and blisters, crystallisation, gaping holes, and lacework appear on the brightly coloured surfaces.

The artist website

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