Dámela, dame la, dame là

The world and its surface Entering an exhibition is like immersing oneself in the frozen scene of a dream, in the scenery of a fiction whose plot is discreet: here temporality, like life, happens without great deeds. Inside, we are welcomed by a warm, friendly palette, like a house, like a womb, like skin that has been turned inside out: comfortable, overflowing, with its temperature, its smell and the density of its air, with the objects, the materials and the stories that pile up. We want to know more, to become impregnated with this house that is not a house, with this exhibition world. To dream in it, and with it. Sensations accumulate in the bodies in front of other bodies, those that Hodei Herreros draws, assembles, unfolds, erects and suspends in Dámela, dame la, dame là, her solo exhibition at the Palacio de La Madraza, in Granada. From floor to sky, the vibration summoned here crosses from head to toe: a head that flies, without losing its connection with the earth. Hodei is able to transport us to a dreamlike space and time, without detaching herself from her original roots, between her native land, to the south, where her genealogy must be sought, and the north of that south, where she lives and materializes her work.