Adela has always in a degree experimented with media, the combination thereof, and her fascination by the emotional charge bubbling under the veneer. She completes her journey — I daresay ,,from the general to the personal” — by her latest exhibition, Fingers in Honey, for which she chose a form of video installation with five video loops of various length. Motion in each of them is reduced to a minimum, thus acquiring a strange inner charge of urgency and tension, which comes out purified yet not bombastic. It is precisely this narrative sparsity which may not leave the viewer with enough room for self-interpretation, because the choice of themes is not symbolic but intuitively personal, which makes me speak about a key element of the exhibition. Perhaps the most important gateway to the reading of this installation is the welcome video on the wall opposite the entrance, which sets the tune and air of the exhibition and sparks a mysterious erotic charge.
I feel Adela successfully probes underneath the surface of given material facts to discover hidden contexts and to purposefully sound the fathoms of something that can be perceived but never spoken out.