Hilda Palafox is not merely painting; she’s crafting a dialogue—a response to both the beauty and the challenges present in her surroundings. When we first met her, years ago, it was about the mural as a means to communicate, presenting a nuanced but universal language as a pubic act. This kind of work, the public art, reaffirmed the power of art as a vital force for change, resonating in a world that sometimes feels divided. She was a fresh aesthetic in what was, and often is, a male space. And then, with each new project, Palafox continued to elevate the conversation, creating a personal bodies of work in the studio, work as rich and complex as that of Mexico City and the evolution of the place as one of the capitals of art and culture in the world.
There was something unique about Palafox, and in her newest solo show, una palma de distancia at Proyectos Monclova, Mexico City, she stands poised at the intersection of craft and concept. Her canvas often becomes a playground for the exploration of traditional motifs and neo-folk elements, juxtaposed against a backdrop of modernity and grit. There’s a sense of celebration in her strokes, a dance of confidence that invites viewers to not just observe, but to engage with the narratives unfolding in front of them. The viewer gets wrapped into her work as it feels like you are following her path in a metropolis; once she was high above on the walls observing us all, and now she is on ground level, in the midst of the humming of the urban landscape, anonymous but present.
Anonymous. I have been hesitant in the past to use that world to describe Hilda’s characters but that feels like the right word. They are hiding in plain sight but also so inclined to be seen. Her work often features faceless figures, which contribute to a universal and inclusive feel, allowing us to project ourselves or our experiences onto the artwork. This approach emphasizes emotions and connections rather than something specific. Palafox’s use of soft colors, fluid lines, and balanced compositions further enhances this ethereal and dreamlike quality, creating a sense of serenity and introspection. Her art often explores themes of growth, harmony, and the intricate relationship between humans and the natural world. As the gallery noted, art historian Rebeca Barquera wrote that Palafox’s work reclaims the representation of femininity through exposed figures that evoke murmurs and the free exchange of pulsations between bodies.
Every new show, I think of Palafox as becoming more and more one of the best and most gifted new voices in contemporary art. Her history with us at Juxtapoz is cemented, she is integral to our history, and based in a city that continues to be one of our biggest supporters. She once told us, ” I am never completely satisfied with what I do. And that is the thing, right? The engine that keeps us creating, I suppose, to help us not get bored with ourselves.” It is safe to say we are never bored of her. —Evan Pricco