Inês Zenha
Swans only sing closely, 2024
Swans only sing closely, 2024
Photo: David Bonet
Collection
Swans only sing closely, 2024
Glazed ceramics
TBA21 Thyssen-Bornemisza Art Contemporary Collection
Uprooted, 2024
Glazed ceramics
ca 60 x 30 x 30 cm
TBA21 Thyssen-Bornemisza Art Contemporary Collection
Inês Zenha’s artistic practice is a dynamic exploration of identity, transformation, and the fluidity of human experience. Rooted in ideas of gender liberation and empowerment, Zenha’s work interrogates societal constructs and challenges traditional notions of form and material. Through the malleability of materials such as clay, Zenha creates immersive, tactile environments that emphasize adaptability, regeneration, and the constant evolution of the self. The artist’s work functions as both a critique of restrictive societal norms and a celebration of the freedom inherent in self-design, offering a transformative space for reflection and liberation. Zenha’s art is an unapologetic testament to resilience, exploring the potential for rebirth and reimagination within both individual and collective contexts.
Grounded in the idea that even the most intimate habits and choices are conditioned by societal constructions, Zenha’s paintings use figuration as a tool to challenge queer and gender politics. Through bold color choices, layered compositions, and symbolic metaphors, their work contrasts the artificiality of imposed principles with the natural spontaneity of transformation. This revival of ideas and identities invites viewers to challenge restrictive frameworks and embrace liberation. Paintings such as Reaching for Blue Fire I (2024) stand as dynamic celebrations of bodies and ideas in perpetual flux.
Similarly, Zenha’s glazed ceramic sculptures, such as Swans Only Sing Closely (2024) and Uprooted (2024), deepen their exploration of change and endurance, presenting tangible forms that challenge and reinterpret established norms. Clay, with its innate malleability, becomes a metaphor for the fluidity of identity and the hybridizations that emerge from liberation. Drawing inspiration from natural processes, such as the regenerative adaptability of plants, Zenha’s sculptures inhabit a liminal space between confrontation and celebration. Their installations, often incorporating water, emphasize the cleansing and reawakening of constrained perspectives. These sculptural forms echo the political undertones of Zenha’s practice, embodying the freedom of personal reinvention, untethered from societal mores.
João Mourão and Luís Silva
Glazed ceramics
TBA21 Thyssen-Bornemisza Art Contemporary Collection
Uprooted, 2024
Glazed ceramics
ca 60 x 30 x 30 cm
TBA21 Thyssen-Bornemisza Art Contemporary Collection
Inês Zenha’s artistic practice is a dynamic exploration of identity, transformation, and the fluidity of human experience. Rooted in ideas of gender liberation and empowerment, Zenha’s work interrogates societal constructs and challenges traditional notions of form and material. Through the malleability of materials such as clay, Zenha creates immersive, tactile environments that emphasize adaptability, regeneration, and the constant evolution of the self. The artist’s work functions as both a critique of restrictive societal norms and a celebration of the freedom inherent in self-design, offering a transformative space for reflection and liberation. Zenha’s art is an unapologetic testament to resilience, exploring the potential for rebirth and reimagination within both individual and collective contexts.
Grounded in the idea that even the most intimate habits and choices are conditioned by societal constructions, Zenha’s paintings use figuration as a tool to challenge queer and gender politics. Through bold color choices, layered compositions, and symbolic metaphors, their work contrasts the artificiality of imposed principles with the natural spontaneity of transformation. This revival of ideas and identities invites viewers to challenge restrictive frameworks and embrace liberation. Paintings such as Reaching for Blue Fire I (2024) stand as dynamic celebrations of bodies and ideas in perpetual flux.
Similarly, Zenha’s glazed ceramic sculptures, such as Swans Only Sing Closely (2024) and Uprooted (2024), deepen their exploration of change and endurance, presenting tangible forms that challenge and reinterpret established norms. Clay, with its innate malleability, becomes a metaphor for the fluidity of identity and the hybridizations that emerge from liberation. Drawing inspiration from natural processes, such as the regenerative adaptability of plants, Zenha’s sculptures inhabit a liminal space between confrontation and celebration. Their installations, often incorporating water, emphasize the cleansing and reawakening of constrained perspectives. These sculptural forms echo the political undertones of Zenha’s practice, embodying the freedom of personal reinvention, untethered from societal mores.
João Mourão and Luís Silva