text by Gaïa Matisse
all clothing Jean Paul Gaultier

Pilar Zeta, an Argentinian-born multidisciplinary artist, and Gaïa Matisse, a French-American art curator, both found themselves drawn to Mexico City and its rich culture and art scene. Two years ago, unbeknownst to each other, they simultaneously relocated to the city at the same time. With their unconventional styles and unique visions of the art, it was inevitable that their paths would intersect. This encounter occurred at Zona Maco, the city's thriving art fair, in 2021. Pilar and Gaïa connected, and exactly one year later, Pilar conceived the idea of hosting an exhibition of her art within her home. Recognizing the need for a curator to seamlessly bring all aspects of her work together in dialogue, Pilar reached out to Gaïa. Together, they embarked on the collaborative journey that would become "Temple of Self.”

Gaïa Matisse: My love, how are you? 

Pilar Zeta: Hello, super good, excited for this exhibition to finally come to life! 

GM: I know! I was so happy when you asked me if I wanted to curate the exhibit, since  meeting you, I knew it was just a matter of time before we did something together. 

PZ: Totally, and the support of Jean Paul Gaultier is the cherry on top.

GM: Right.. Gaultier is a dream. I mean with our love for vintage and the amount of Gaultier pieces we have in our closets... it makes sense. I think Jean Paul himself would approve of the way we styled the shoot. 

PZ: For sure. 

GM: Okay, enough fashion let’s get to the art. At this point in your career, you have done multiple large-scale installations alongside many super important projects with other artists. What intrigued you to host an art exhibition in your home? 

PZ: For me, the deepest art form is how we live our day-to-day lives. That's why it's super important for me to live in an environment that reflects my inner world. After creating a lot of work for the external world, I wanted to invite people to explore where my vision comes from. My home is an extension of my daily expression; and a big part of how I find inspiration to keep making art. When you enter my house, you will see that every detail somehow is connected, even if at first something might seem unrelated. Once you understand my work you can begin to understand the connection. From my decor to my nerdy tech gadgets, and my books, everything is based on the things I love— the shapes, symbols, and talismans, they all resonate with me. Each object is either a creation of mine or an item that I've found across my life through my travels that represents me, combined with a specific color palette

GM: Yeah, the first time I walked into your apartment I was like woah, this girl has a vision… haha, In the work that we are presenting, you seamlessly blend different mediums like sculpture, tapestries, and paintings. What draws you to each medium and how do they inform each other in your creative process?

PZ: Each medium brings its unique energy to my artwork and has its creative process and emotional attachment. When the original image that I created with AI is woven by artisans into a tapestry, Wool, for instance, carries an organic warmth that connects back to nature. The temples that symbolize a subconscious reverence for sacred spaces, come alive. In the paintings, Oil paint is the medium in which there's a dynamic exchange between the virtual and the physical. This process is about connecting with a higher place through crafting a piece in the moment, created with a specific intention. Even in sculptures, I often utilize materials with reflective surfaces and minimalistic forms that allow for some form of interaction. I also love the imperfections of each material, they become part of the richness and depth of work and the interpretation of who is making it. Meanwhile, functional pieces like furniture become extensions of who I am, but I give them daily use.

GM: Imperfections are key. So tell me more about how you use AI in your work.

PZ: For me, AI has been an incredible tool. All my life, I've been studying a combination of very random subjects and concepts, from metaphysical and occultism to specific architectural styles, obscure sci-fi films, weird conspiracies, or a certain era. This mix of seemingly unrelated ideas forms the basis of my artistic expression. AI helps me shape all these ideas into storytelling and brings them into a visual form. I'm able to make pieces of art that are deeply aligned with my brain and my lucid dreams. It's like bringing something that exists in my head into this dimension… and when I work with artisans it’s bringing the AI version back into the physical world with actual artisans recreating it. As an artist and a human, it's important to embrace technology and be friends with it.

GM: That makes total sense… I’ve tried to use AI before like Midjourney… and let's just say it’s not easy to transcribe your thoughts… you need to be super specific in your prompt, and for that, you need tons of knowledge of the subject you are working on.

PZ: (laughs) Yeah it takes a lot of time and references, to shape the image as you want. 

GM: I’ve noticed that portals and gateways are a recurring theme in your work. Where do you see these portals leading the person in front of them, both physically and conceptually?

PZ: For me, portals are places that harbor a limited space where two things meet, where one starts and the other ends. They're an invitation for mysterious, magical occurrences. A space opening to a new dimension, inviting imagination and transformation. I always ask myself, how do we move from one dimension to another? What if there were a place that existed between dimensions, acting as a hinge between them? Portals are symbols for entry into a new reality. They are gateways that have been used for thousands of years, deeply embedded in our subconscious.

GM: So cool… yeah just preparing for this exhibit and diving into your art, I feel like we have been entering different dimensions. What is the most unexpected object that sparked inspiration for your art?

PZ: I find inspiration in rare, obscure books—mostly occult, metaphysical, and bizarre. I am also very into weird mind machines and all theories on how to manipulate reality, as well as vintage art and architecture books.

GM: Your book collection is insane, it’s been so much fun staying up all night and reading about Ufos and quantum physics. Aside from objects, what life experience do you think had the strongest impact on influencing your work?

PZ: The most unexpected and strongest inspiration for my art came during my time in Egypt. We were doing a tour of the pyramids and I ended up lying down in a Sarcophagus… It was so powerful, that I felt connected directly with the energy of the Pyramids and had this profound sense of creativity stirring within me. I knew, at that moment, that I would create something significant. Ten years later, I found myself placing an artwork at the pyramids of Giza, fulfilling the vision that had been ignited within me all those years ago.

GM: I saw that, what an achievement. Talk about manifesting something into reality! 

PZ: Manifesting is the strongest tool, if you believe in something and have a vision, anything is possible. 

GM: Your work often evokes a sense of the future and time travel. Do you believe we're heading towards a world that resembles your art, or are you simply offering commentary on possible paths?

PZ: Well, there's this concept in quantum physics that suggests we exist in multiple parallel realities simultaneously, and that the universe is a reflection of ourselves. Some theories propose that we live in a universe that is a simulation emphasizing the idea that our external reality mirrors our inner selves. I believe that the more I connect with myself and my art, the more the external world will reflect my changes. I do believe that I am moving into a universe that is more reflective of what I create.

GM: If you could travel through time with one of your sculptures, where would you go?

PZ: I would go back in time when the pyramids were built. This era fascinates me... Perhaps it occurred in a different dimension with technology we cannot even imagine. I would love to interact with the people who built the pyramids and understand their motivations and rituals. 

GM: Okay, can I come with you?

PZ: Well maybe that's actually where we first met.

GM: Imagine your art existing in a utopian future. What role do you think it would play in that society?

PZ: In the future, I feel that my art could connect people with higher realms of consciousness. Like temples of creativity, inviting people to immerse themselves in dreamlike experiences and seek answers, would inspire introspection and ignite the imagination of all who encounter it. It would play a pivotal role in elevating society's collective consciousness and fostering a deeper understanding of ourselves and the universe.

GM: Yeah I feel that it's already happening… I guess we will this week when people enter your Temple. Okay final question, if you could collaborate with any artist, living or dead, who would it be?

PZ: Hmm.. hard to choose one, but I think it would have to be Hilma af Klint. I'm super intrigued by her process of channeling. Learning from her would be fascinating, all the mystical and spiritual aspects of her approach to bringing art to this plane.

Photographer: Amory Choay @yromaamory

HMU: Adrian Gonzalez @adrianglez

Styling: Pilar Zeta @pilar_zeta 

Gaia Matisse @gaia.matisse

Exhibition viewings by appointment only and private opening on Friday Feb 9th in CDMX.