THE PILL is proud to announce the solo show; Sleeping With Ghosts by LUX MIRANDA.

Lucie Lux-Miranda’s rugs are rich with an expansive energy. Each one, or rather each group of them, exceed and overwhelm us, just as they drawn us in and absorb us. At first, we take this as the accomplishment of an aesthetic strategy: previously working with drawing and sculpture, the artist switched to weaving two years ago. Through wool’s materiality, the practice enriches her colors with a vibratory quality, while its versatile flatness negotiates volume’s overwhelming triumphalism – her rugs can be shown hung on the wall as well as lying flat on the ground. What draws us to them in the first place is their bodily presence, which transforms a merely visual perception – a face-to-face, rational experience – into a fully haptic, subjective encounter. About weaving, Lucie Lux-Miranda underlines how she values the physical part that it entails. Her large-scale formats, such as Sleeping with ghosts (2020), a twelve-part composition, or EQUINOXE-X (2012), which is ten meters long, involve the artist’s body just as much as the spectator’s. Similarly, the rugs’ patterns derive as much from a project than a process. Originating from a vocabulary of shapes and symbols gathered by the artist, their materialization on the tapestry, a repetitive activity not unlike meditation, infuse them with a blossoming energy. As such, the work’s vital vibrancy as a whole, as well as the cultural and symbolic ambiguity of its parts, bring up yet another dimension. As we encounter her tumultuous universes, studded with nascent figures still hidden in the folds of potentiality, we feel slightly dizzy. It is as if we were gazing into a vast abyss about to reveal itself: nothing there is fixed for good. Lux-Miranda’s compositions are polycentric, and their elements yet to be born. Rather than a finite cosmos, the works bring forth a perpetually reconfiguring energetic field. As such, our aesthetic approach also induces an anthropological one: a way of relating to the world by surrendering to it rather than trying to decipher it. On the surface of the artist’s rugs, something becomes visible which true nature remains uncertain; something that whispers to the senses while staying cautious not to be named, captured or reified.