paula garcia sans
[RUSHED - 2026]
[Undertale - 2026]
[Ethereal Estate - 2026]
[The Hatching - 2025]
[Nacreous Clouds - 2023]
[Bodies that don’t age - 2022]
[Hole to Bliss - 2021]
[Hyperindividualized Pleasure - 2020]
COMMISSIONS
UNDERTALE, 2026
Duo exhibition with Violeta Paez at De Bouwput, Amsterdam
Undertale - 2026
Mixed media installation; stone, wax, glass, videogame
Undertale is inspired by the appearance and disappearance of architecture in relation to changing environmental conditions, a phenomenon that is increasingly familiar to us due to extreme weather events, and that carries hauntological connotations. Catalunya, where the project originates from, has its own regional imagery of absence: from the unfinished developments of the 2008 crisis to abandoned mountain villages, to empty touristic hotels in coastal cities. This work follows the line of my previous work Ethereal Estate and also stems from a visit to Sant Romà de Sau in 2023, a village that had been underwater for 60 years and resurfaced due to severe drought in the area.
The videogame presented expands on these ideas through the traces left by previous players. As players move through the space, they leave behind paths that reveal where they went, where they hesitated, and where they chose not to go. Over time, these movements become drawings made collectively, traces of encounters with the space that are inherited by the players who come after.
Alongside the videogame, a series of stone and wax sculptures are presented, taking the shape of shoes in the process of walking, or of remains left behind by the tourism that returned to the village after its reappearance. These objects suggest movement while remaining immobile, becoming traces of bodies that are no longer there. Through their materiality, the sculptures reflect on the relationship between landscape and memory.
The show remains a playtest in which sculpture and videogame attempt to form a cohesive, single language.
The videogame presented expands on these ideas through the traces left by previous players. As players move through the space, they leave behind paths that reveal where they went, where they hesitated, and where they chose not to go. Over time, these movements become drawings made collectively, traces of encounters with the space that are inherited by the players who come after.
Alongside the videogame, a series of stone and wax sculptures are presented, taking the shape of shoes in the process of walking, or of remains left behind by the tourism that returned to the village after its reappearance. These objects suggest movement while remaining immobile, becoming traces of bodies that are no longer there. Through their materiality, the sculptures reflect on the relationship between landscape and memory.
The show remains a playtest in which sculpture and videogame attempt to form a cohesive, single language.