Ana Prada (Zamora, 1965) lives and works in London. She trained in sculpture at the Faculty of Fine Arts at the Polytechnic University a12> in Valencia (1983–1988) and completed his training with a Master’s degree in Fine Arts at Goldsmiths’ College in London (1989–1991), the city in which he has lived ever since.
His work forms part of appropriationism of everyday and domestic objects —curls, thumbtacks, everyday and domestic —curls, thumbtacks, everyday and domestic —curls, thumbtacks, everyday and domestic —curls, thumbtacks, everyday and domestic —curls, thumbtacks, everyday and domestic —curls, thumbtacks, everyday and domestic —curls, thumbtacks, everyday and domestic —curls, thumbtacks, everyday and domestic everyday and domestic use — curlers, thumbtacks, rubber gloves, laces, hair clips for hair, tights, etc.— which takes out of context, cuts out and reassembles until it nullifies their original function and their original identity . Through the manipulation, repetition and juxtaposition, these pieces are come together in structures that oscillate between the geometric and the organic, giving shape to new sculptural forms. The process, which is both manual and involves research, imposes on the object a formal discipline formal that arises from its own intrinsic qualities: in that operation Prada recognises the attention paid to the materials inherent of conceptual language, but shifts it towards everyday domestic life, a register which mocks the fragility and banality ofthe ordinary and which places the person who observes in a double interpretation between reality and fiction.
His work gained international recognition through his participation in the Biennial of São Paulo (1994) and his solo exhibitions at the Museo Nacional Centro deReina Sofía Art Centre (MNCARS, Madrid, 1995) and the Valencian Institute of Modern Art (IVAM, Valencia, 1995). He has exhibited, among other venues, at Witte de With (Rotterdam, 1996), The New Museum of Contemporary Art (New York, 1998), Jerwood Space (London, 1999) and the Sala Parpalló (Valencia, 2010). Between 2020 and 2021, the Centre for Contemporary Creation of Andalusia (C3A, Córdoba) and the MUSAC (León) presented Todo es otro, a review of his sculptural and installation work since 1994, curated by Manuel Olveira and Álvaro Rodríguez Fominaya.
His work is held in collections such as the Arts Council Collection (United Kingdom), the Collection of Banco de España, the MACBA, the MUSAC, La Caixa, CAAC, Galila Barzilaï-Hollander and the Helga de Alvear Foundation.
