Personal best – Paula Castro
The latest episode of the new series where we ask Breed artists to select a piece or project of their own that holds a special meaning for them. It may not necessarily be the most successful or even their favourite, simply one that stands out for them as important in some way. We’re intrigued to see the choices made and the stories they may lead to.
This time we’re asking Paula Castro. From Buenos Aires, where she studied graphic design, Paula set out as an illustrator working in Italy and France, mostly within the fashion industry. While in Paris her clients expanded to take in music and editorial, and she worked for Hermès, Rolling Stone, and Saatchi & Saatchi among others. More recent clients have taken in Penhaligon’s, Flaunt magazine, and stylish Brooklyn bar The Maison Premiere. Let’s see which one she goes for here.
What piece have you chosen?
A book cover for Giorgio Agamben’s Cuando la casa se quema, published by A.hache.
Why is it special to you?
This piece is special because I think I was able to rescue some humour within a very sad and violent context, reflecting the author’s perspective and contemporary reality. And I believe humour is a good tool for getting through the very difficult times we are living in.
What’s the story behind it?
It was one of the first covers with this new client and it was a big challenge to translate the ideas of such a great philosopher, who I admire a lot, into an illustration.
How did you come to create this piece?
The editor and translators of Giorgio Agamben to the Spanish language were a big help. I had some notes from them and also read some fragments from the book for inspiration.
Which house is burning? The country you live in, Europe, or the whole world? Perhaps the houses, the cities, have already burned, for who knows how long, in a single, immense bonfire that we have pretended not to see. Of some, only fragments of walls remain, a wall with frescoes, remnants of the roof, names, so many names, already swallowed by the fire. Yet, we cover them so carefully with white plaster and mendacious words that they appear untouched.
