The Argentinean artist invites us into her metaphysical and colorful worlds that summon Ancient Egypt, surrealism, cosmology, and esoteric philosophy.
Pilar Zeta’s education has strongly influenced her trajectory. A source that she draws from her mother, a professor of art history in Argentina, who also firmly believes that “the truth is elsewhere.” This 37-year-old rising artist, born in Buenos Aires and based in Los Angeles, cultivates this cosmological vision with multimedia creations that include installations, sculptures, NFTs, music video productions, and album cover designs. Her long-standing collaboration with Coldplay earned her a 2021 Grammy Award nomination for art direction of Everyday Life. At the heart of these creative devices, she experiments with her favorite themes, such as Ancient Egypt, metaphysics, esotericism, mysticism, astrology, geometric figures, symbols, and other holographic worlds. This is coupled with digital tools that allow her to create liminal spaces, while exploring the built environment. Her installations, in particular, are lived and felt. Pilar Zeta invites us to walk through them to explore new aesthetic experiences. Her work is defined as a metaphor and a physical space, immersing us in minimalist, surrealist, and colorful landscapes. The sculptures (egg, sphere, pyramid…) materialize this return on oneself, this symbol of creation, the rebirth, and where past and future meet to better connect us.
Mystical sanctuaries
The Gates of Perception is her most recent work. The artist collaborates here with Philia Gallery for the exhibition Antipodes, presented at the contemporary art fair Zona Maco and at the Art Week in Mexico City. Here, the vision of the poet William Blake and that of the philosopher and science fiction writer Aldous Huxley are invited into her reflection: “If the doors of perception were cleared, each thing would appear to man as it is: infinite.” The installation is thus presented as a portal that functions as doors, facilitating “entry to other levels of perception that transform our energy in order to connect us to our higher self.” For Future Transmutation, she uses mathematics, astronomy, and occult philosophies to express our transformative reality. Forty-four tiles float above the garden floor in a checkerboard pattern where the colors eventually change and the tiles move, opening a new dimension. Around, sculptures, like geometric bodies derived from the Pythagorean theorem (sphere, pyramid). And a sundial, which reminds us that “the transmutation of our future self takes place now.” As for Hall of Visions, the installation invites us to walk through a corridor to reach the sculptural egg that always encourages us to see ourselves in the present, to perceive our potential in the work and to connect to our own vision.
Nathalie Dassa