BREAKFAST // CERAMICS

Carolina Häfner Jiménez, known in the artistic world as KOKO CHE JOTA, once again delights us with a new series of paintings grouped this time under the title "Under The Sky".

Previously, KOKO had developed "the worms of the lapse" in an aesthetically recognizable line, where women full of light posed calmly, surrounded by the paths they had traveled and framed with their own lives. A boost of vitality that encouraged you to take control. Nobody expected that our lives, everywhere, were going to be turned upside down, and we would become mere spectators who put their dreams to hibernate under layers of security and resignation. In this context of confinement, the seed emerges that ends up creating "Under The Sky", where KOKO, for the first time, dispenses with people in his works and focuses on the symbols that we surround ourselves with to feel at peace.

These moments that the artist gives us are shared reflections of illusion, places where we have been forced to remain enclosed and full of uncertainties, but, at the same time, they are our open minds, our particular universes, where a vase on a table is not Props, but a pillar on which nostalgia and hopes alike can rest.

The rooms and rooms in this series are real places. Families, friends and pasts, they mix, giving way to a carousel of subtle emotions and personal meanings. When we we settle in a house, soon we want to make it part of us screaming for herself who we are, what inspires us, what part of our history that we want to always keep in mind, on some shelf. The past is in motion. Every time we remember something, our brain rebuild from scratch and change over time. The walls, the colors the protagonists and objects in the rooms, move through our mind in the middle Out of the fog, trying to find ourselves The search for coherence is a full creative process of value that exposes the most vulnerable corners. That's "Under The Sky", a collage of corners. Rooms full of other rooms, pasts full of futures, calm full of promises ... Living the confinement without certainties made us feel deprived of freedom, so the only possible jail were the four walls that we had as a refuge, but KOKO does not recreate empty rooms to express, without more, the desire to get out of them as soon as possible. Those corners they are our buildings, our personalities, our homes and caves; the places to which we can always return after each end of the world, from which to find strength to face the most puzzling realities, wherever we are, because they are places that go with us, everywhere.