Veer

15 november - 1 december, 2025

Galeria Flora & Fauno, Madrid, Spain.

Exposición de esculturas de animales exóticos en una galería de arte.

Mujer observando en una galería de arte, con exhibiciones de esculturas en vitrinas de vidrio.

Escultura en una vitrina de vidrio sobre un pedestal de madera.

Figuras de animales hechas con telas y exhibidas en una vitrina de exhibición en un museo.

Exhibición de arte en una sala con paredes de madera. Hay un diorama con esculturas de animales hechos de telas en una vitrina. Sobre la mesa de madera, hay dos dibujos uno con un oso y el otro con un castillo y árboles.

Una ventana de galería con exhibiciones de esculturas en el interior y un reflejo de una mujer con abrigo y gorro en el vidrio de la ventana, flores en un jarrón a la izquierda.

The exhibition “Veer” presents new work by visual artist Camila Lemoine Rivera, in which she explores the materiality of fragments from found objects, questions the image of nature they evoke, and proposes new ways of observing and interpreting within the context of the current environmental crisis.

To veer, in English, means to change direction, and this word forms part of the etymology of environment. “Veer” thus alludes to a change of course or an invitation to shift direction within the environment we inhabit —unique and shared, with no alternative possible.

The pieces that make up the show emerge from the collection of fragments, remains, and ruins of textiles and ceramic animals, which the artist subjects to a process of treatment, reconstruction, and intervention. Through this meticulous work, Lemoine gives a twist to the reconstruction of the images they represent, reorganising without faithfully revealing the original object, instead proposing a distortion, an error in the archaeology, redirecting the material itself and its forms toward a new essence.

The exhibition is composed of two main series: "Ceramic Taxidermies" (2025) a set of installations featuring found ceramic animals, broken and recomposed through patient sewing and textile covering and "Natura Prints" (2022–2025), compositions made with threads and fibres derived from offcuts of synthetic fabrics, pieces of plastic ropes, and microplastic particles, all found and recovered by the artist in different places and at different times.

In "Ceramic Taxidermies", each animal has been recomposed through a process of sewing and upholstering with printed animal-pattern fabrics that do not correspond to its original physiognomy. This gesture emphasises the distortion inherent in every representation of nature and the impossibility of fully appropriating its image. The pieces are presented in compositions inspired by the display cases of natural science museums or traditional taxidermy, where artifice seeks to recreate an illusion of natural environment.

This process of gathering ruins, repairing, and recomposing functions as a metaphor for care and highlights the fragility inherent in living beings. Lemoine restores to each fragment a sense of affection and restoration, in contrast to the symbolic violence of taxidermy, questioning the cruelty and absurdity of transforming an animal body into an ornamental object or a symbol of domination.

For its part, the drawing series "Natura Prints" stems from research into synthetic textiles that, once discarded, fragment over time, becoming microplastics and merging with ecosystems, creating a contamination phenomenon that is impossible to manage. In the work, the artist selects fabrics printed with botanical motifs to emphasise the irony between the design process—which seeks to imitate nature—and its final destination within the environmental system.

From these textile remains collected on beaches, in sewing workshops, on streets, or from discarded garments, the artist creates new weaves and material dialogues, intertwining fragments that reveal the distortion of our representations and perceptions of the idea of nature.