Practice
Over several years, Alicia Paz has focused on the tension between artifice/ illusion and the veracity of actual processes involved in painting, exposing the duplicitous nature of representation. Through her work, she explores notions of hybridity, assemblage, and metamorphosis, focusing particularly on the female figure: the self is experienced and presented as multiple, fluid, paradoxical. Paz's paintings are as much portraits as they are landscapes, combining references that range from erudite painting or the history of the painted image, [2] to citations of advertising images or comics. [3] Inhabiting fantastical and exotic landscapes, Paz's feminine subjects become fused and combined with organic life. Strange and unsettling visions of tree-women and monster-women also represent the fusion of the subject with painting itself: she often depicts amphibian or plant-like figures “weeping” pigment, their limbs, hair, and various ornamental accoutrements mud-caked and dripping, as if extracted from a colourful, post-cognitive swamp.
In August 2017 Paz unveiled her first public sculpture commission at Kunstmuseum Kloster Unser Lieben Frauen in Magdeburg, titled Insel der Puppen (Island of Dolls), in steel and enamel. [4] [5]
Paz is working on a large research and production project exploring the network of women that are playing an important role in her life, personally and professionally. Her project is supported by the Arts Council England. She developed her research it into three exhibition, each specifically adapted to the location and with new work for each show. [6] [7] The first installation was Río y Mar (River and Sea) at the Beecroft Art Gallery in Southend-on-Sea, part of Estuary 2021, [8] followed by River Makers at the Visual Arts Centre in North Lincolnshire, both in 2021, and finally Juntas (Together) at the Maison de l'Amérique latine [ fr ] [9] in Paris in early 2022. [10] [11] [12] In 2024, the curator Bénédicte Delay, presented a solo show of Paz' work under the title Explorations au féminin at the Château de Haroué in Eastern France, in collaboration with the Centre des monuments nationaux CMN.
Her solo show Odisea opened during the Semana de las Artes Monterrey at the Drexel Gallery in Mexico in January 2026. [13] She presented works that "explore water and ceramic traditions (…) from a hybrid and feminist perspective." [14] [15]
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