Pilar Cossío’s work brings us hopelessly close to visual poetry, proposing “dazzling channels that lead us from sleep or wakefulness to the centre of the poem. Without palliation”. The artist does not remain for a moment in that reality delimited by reason. The dream and its surroundings are for her a second skin.
Accessing the real then means revealing a magical territory that belongs only to her and which is also her dwelling place.
But the most surprising thing is the means she uses to legitimise it, since it is not only through the poem or photomontage, or drawing, but also, and recently with greater attention: the ready-made, the objet d’art or the installation, making unprecedented and exciting displacements: from reality to the dream, from the visual to the mental and vice versa. Only in some cases does her work clarify some of its enigmas… Cossío knows that her structures, coming from the chaos that precedes the idea, are burrows… or what amounts to the same thing: “our place in the world”.
Always starting from a primordial substance and without losing the connection with the Universe.
This elaborate process allows her to measure herself with her work, and to include herself, taking us, through it, to a state of mind.
This reveals her ideology, or her unique symbology, as well as an explorative attitude that always accompanies her work. But even with this we could not discover Pilar, nor encompass her….
Cossío’s work thus leads us to the depths.
Evoking that which constitutes us. Placing us in the centre of the poem, in the essence of language:
Art as idea. Access to the splendour of the real, to the metonymy that his own fantasy constructs, to the idea as source?
Language as jouissance and that which we have never seen before, that which is endlessly receding before our eyes…