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underwear mandalas by pilar albarracin
original content
feb 08, 2013
underwear mandalas by pilar albarracin



underwear mandalas by pilar albarracin
‘mandala (chair)’, 2012 – detail

275 x 275 x 3 cm
image © aurélien mole

 

 

 

 

spanish artist pilar albarracín has found a new role for panties – expansive mandala artwork, naturally. the pieces are formed by each being grouped according to a very simple code, that of color – red, black, white, flesh-colored or multi-colored. the work forms a kind of constellation – each one obeying a strict geometric order, repeating circles, to eventually represent mandalas, a patterning that embodies spiritual and ritual significance in hinduism and buddhism. etymologically, mandala means ‘circle’ in sanskrit – and by extension, the term also means ‘community’ -  perhaps the work a trigger for controversy due to the subject matter used to represent images of such a value. additionally, the pieces become more surprising upon learning that the panties all belong to the relative so of the artist herself -  thus, each item carries its own unique story. an oeuvre of work bound to be a catalyst for discussion – and perhaps a new pair of underpants. 


installation view of ‘el origen del nuevo mundo’
galerie GP & N vallois, paris
image © aurélien mole

 

 


installation view of ‘el origen del nuevo mundo’
galerie GP & N vallois, paris
image © aurélien mole

 

 

underwear mandalas by pilar albarracin
‘mandala (arc en ciel)’, 2012 – detail
400 x 400 x 3 cm
image © aurélien mole

 

 


installation view of ‘el origen del nuevo mundo’

galerie GP & N vallois, paris
image © aurélien mole

 

 

underwear mandalas by pilar albarracin
‘mandala (rouge)’, 2012
red underwear
275 x 275 x 3 cm
image © aurélien mole

 


‘mandala (blanc)’, 2012
275 x 275 x 3 cm
image © aurélien mole

 

 

underwear mandalas by pilar albarracin
‘mandala (blanc)’, 2012 – detail
275 x 275 x 3 cm
image © aurélien mole

 

 


installation view of ‘el origen del nuevo mundo’
galerie GP & N vallois, paris
image © aurélien mole

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