AISHO Hong Kong is honoured to announce Spanish artist Cristina Lama’s first solo exhibition “LA SINRAZÓN (Unreasonable)” in Hong Kong. The show is on view from 27 March to 17 May, 2025.

Cristina Lama's artistic practice is fundamentally grounded in abstract emotional expression, employing a relatively loose narrative approach that leaves the interpretation of her works open to the viewer. Rather than focusing on specific themes, characters, or subjects, she transforms these elements into instruments for exploring the possibilities of composition. Lama relies heavily on intuition, regarding the realistic imagery merely as a premise for her experimental arrangements of lines, forms, and colors. Her primary concern lies in how these elements achieve harmonious fluidity across the canvas. Working predominantly with oil and acrylic on large-scale canvases, Lama incorporates dilemmas related to family, childhood, and freedom into her works. Her paintings, which reject conventional rules and perspectives, demonstrate compelling force through deliberate and vigorous brushwork while manifesting her sensitivity and emotional depth.

Titled "Unreasonable (LA SINRAZÓN)," this exhibition invites viewers on a fantastical journey through a carnival-like procession that simultaneously evokes elements of horror and fiesta. Dancing phantom, chandelier-like spiders, and top-hatted skulls — typically emblematic of death and fear — are reimagined with a childlike sensibility reminiscent of illustrations from children's horror stories. However, these works also emanate an underlying unease through Lama's vibrating brushwork, particularly in her depictions of bats and dogs, which recall Francisco José de Goya y Lucientes' "Los Caprichos" series. The exhibition features multiple interpretations of spiders: some suspended like crystal chandeliers, others adorned in formal attire, and some depicted in frantic motion. While spiders typically evoke negative associations of danger and fear, Lama entitled them as "protection," drawing parallel to Louise Bourgeois' iconic giant spider sculptures, which similarly employ the spider's inherent qualities of weaving and protecting offspring as a metaphor for maternal power.

Much like Lama's oeuvre, many of these motifs carry conventionally negative connotations, yet when examined individually, each work reveals an unexpectedly captivating charm that contradicts these associations. Perhaps when we delve deeper into our emotional landscape, we will discover that each sentiment is uniquely individual and, indeed, "unreasonable."