THE AUDIENCE

Carved into overlapping rectangles, like the secret floors of the director’s office in The Audience that Marta Pazos paints in an abyssal blue, the three levels of these earrings offer an open door to Lorca’s impossible theatre: the first encloses the mask, the second the skin, and the last the desire that dares to make itself seen. Extracted from the cobalt of a sealed file from overseas that dominates the scene, its exact tonality refers to that blue room with which Pazos begins her kaleidoscopic catwalk before moving on to red, pink and delirious green. Scene by scene, rectangle upon rectangle, its geometry conceals a profound question: who is the audience when the door closes?