Relicario (Gárgola II) [Reliquary (Gargole II)] (2025)
Artist’s book. Nickel silver cup, lipstick, nail polish, laminated cardboard and bookbinding fabric
20 x 18 x 10 cm approx. (box) 16 x 16 x 8.5 cm (cup)
BA Collection
Registration No.: 2025.618.1
Hodei Herreros’s art offers a feminised space-time where linearity can be put on hold to find narratives. The artist approaches the artistic object as a body subject to care and decoration, in same way as people applying make up to their body or applying skincare at night, share a beauty ritual. A dressing table or place for preening, when the items receive beauty treatment in the workshop. She therefore uses cosmetic and pictorial material: foundation, blusher, lipstick, nail polish, eye shadow; in an attempt to understand the workspace as the scene of a possible world and the resulting body of work as its inhabitants.
Hodei Herreros Rodríguez (Vitoria-Gasteiz / Granada, 1997) is a visual and plastic artist whose work revolves around installation and sculptural language, where visual art is understood as a tool to generate non-linear scenes and narratives through form and image rather than language. She is particularly interested in articulating sculptural form through flat surfaces that emerge from silhouettes, shadows, or contours that delineate objects. These are elements that lack apparent volume yet inhabit space, awaiting the moment when the body they belong to might appear. This body appears fragmented, not striving for the unity of a whole but embracing the multiplicity and sympathetic power of its parts. In her practice, the cosmetic is also highly present, understood as the relationship between ornament and structure, beauty and order – a connection that traces back to the etymological origin of the word ‘cosmetic’. She employs elements such as arches, mouldings, columns, adornments, patterns, furniture, or makeup, which exist in a liminal state between structural function and aesthetics, allowing the accessory to become essential and reclaiming the importance of ornament as a feminized objecthood.