Lucia Bayon


Lucía Bayón Mendoza (1994) lives and works in Madrid.

She graduated in Fine Arts at the Complutense University of Madrid and completed a stay at the Universität der Künste Berlin. She holds a Master in Fine Arts from the Piet Zwart Institute in Rotterdam.
She has shown her work widely at a national and European level in institutions, independent spaces and galleries, opening her first solo exhibition, ese entredós, with Intersticio (2022). She has received various awards such as the Visual Arts Scholarship from Fundación Botín(2019), Circuitos de Artes Plásticas de la Comunidad de Madrid (2020), and Generaciones award from Fundación Montemadrid (2020).
She has done residencies at the SommerAkademie in Salzburg (2019), Matadero Madrid (2022) and Tabakalera Donostia (2022).

In addition, alongside with Lukas Meßner, Bayón is co-founder of digestivo: an itinerant curatorial initiative and errant project space. digestivo acts as host to other artists’s work, while exploring fermentation and preservation processes, and fostering a space for insightful culinary and communal encounters.


I center my practice around making. Making interests me from the field of study of continuity versus discontinuity. I think a lot about repetition. I wonder why try to press a seal on running water or how to do it. I am interested in the notions of flow, fold, and semantic field of circulation associated with a methodology that tries to become a multi-fold dynamic that changes at a relatively stable rate.

The materialization of my practice is built from sculpture and language. Word and matter are conceived as elements immersed in a continuous sway where I try to register something that is halfway between one and the other. I am interested in exploring the possibilities that arise from composing from a series of elements of the same semantic field, the limits of translation between language (word, writing, moulding cast), and matter (malleable element, mutable content) to generate visual terms (form, model).

The sculptural productions resulting from this exercise are articulated from the minor, the discarded, the excess, and the codified. Combining industrial processing techniques, mechanical blending or shredding, and craft traditions, I try to address the workings of specific production methods and the conditions under which this labor is produced. The very insistence on the continuous repetition and accumulation of recurring gestures, rhythms and motifs culminates in the perception of a stasis or moment of arrest of overlapping contents, thus provoking the necessary discontinuity that is change, and the possibility for the practice to adopt a sensitivity to remain speculative. Here I point to an idea of convening, while sustaining a circuit that entangles movements of circularity, processes of deconstruction, and the residual in slow becoming.

Recent work touches on the history of the fabric of industrialization and the production spaces that enable the very making of the works. Thinking from language, and particularly from verbs -fields of action- associated with sculpture, pieces governed by the mechanics of the machines used for their production have been outlined, examining the translation of physical resonances through various materials and carrying out tasks such as soaking, pressing, draining, tightening or compacting.