All her works reflect this process of growing self-awareness and are therefore subjected to a continuous process of organic or symbolic metamorphosis.
At the entrance to the gallery, “M’avresti consolato” (You would have consoled me), a block of ice that slowly melts, liberating the plants and handwritten texts by the artist sitting within it, that lies on a metal plate on the ground.
In the same room, “Giorno per giorno” (Day by day), a wall painting with marks and delicate strokes made with black pigments. Also ephemeral as the transitory memory of the installation itself.
In the second room, “Graveyard dream blues”, a work-in-progress installation of works on paper, drawings, sketches and pages taken from books.
The glass diptych “I’ve been shooting in the dark too long, when something is not right it’s wrong”, separates the second from the third room. The pigments inside the glass sheets bring to mind the lost gravity of the dried flowers, pressed and suspended in delicate formations, offset by the cracks present on a piece of armoured glass that highlight the splendour of the intense colours.
“But where are you tonight sweet Mary II”, closes the exhibition and requires a more careful and detailed viewing. It is a work on paper, in which texts written in very small characters are close to dissolving in space and perceptive capacity. These form complex graphics, similar to representations of the nervous system or to informal scores of music.
A meticulous work comparable to another ongoing work, “I Pini di Roma”, in which Paula Doepfner has counted 8,300 up to now.
With the title of the exhibition Next Time I See You, a poetic form of greeting, Paula Doepfner seeks a complicit empathy with the viewer because it hides within itself the message of awareness - in this case towards the other – thus freeing a spectrum of emotions and tensions.