When we observe Paula Mota’s paintings, can we call them feminine art? Or might we label them as being “eternally pop” … ? From a first allusion, we see smiling and jovial feminine figures in tones of red, we see rosas and feel heat, we discern the smell of perfume. We see patterns, wallpaper, skirts, dresses and models. From another allusion, we see figures in tones of blue and grey, eyes fixed upon us and mouths covered with price codes, and we feel cold. These are figures and faces that we associate with cutouts of moments, moments from daily life as the titles indicate – “Me and my best friend,” “Camouflage” or “With cream.” These are disguised, masked faces, and it is with this daily life and these various masks that we find ourselves in situations such as “View from a keyhole.” We feel as much cold as heat and it is from within this duality that we re-view some icons, that we might also speak now of fables. These icons, and these fables, apparently also appear as words. It is within this perspective that Paula Mota’s paintings fit. They are moments from a disguised daily life that is rediscovered from multiple facets. They are pop in the technical sense of the word within the artistic movement in question, and they are feminine given the themes to which they allude. The images remit us once again to another time, a time that we cannot pinpoint at this moment. We can indeed say that it is an art which masters certain times, specific times and different times re-codified as Mixed Media, times in which, in reference to said works and in the words of José Gil, “Painting is a text of images which unfolds into multiple others.” And it is in relation to this unfolding of multiple moments that I situate the paintings that I now describe. I do not situate them within any –ism. They are icons, fables created by the artist herself, at those personal moments when some are notoriously intimate and others less so.
Porto, October 25, 2005