Skip to main content
Sculpture (MA)

Araceli Gómez Castro

Araceli Gómez Castro (b. 1994) is an artist based in London and Mexico City. Studied BA in Fine Arts at the University of Granada (Andalusia) and Mimar Sinan Güzel Sanatlar Universitesi (Istanbul), before enrolling in MA Sculpture at the Royal College of Art (London). Enjoyed the Erasmus + Traineeship Scholarship at Spanish Contemporary Art Network (London); recent exhibitions include Camaradas organised by the Embassy of Mexico in the United Kingdom, at Menier Gallery (London); art residencies like Dirty Hands and Revelations II at Standpoint Gallery (London); iobject at Freud Museum (London). As well as solo exhibitions at Marta Gualda (Charlotte, USA).

 Over the last decade, collaborating with a broad range of artists, visual arts organizations, inter-local institutions, community projects, spiritual-based groups, delegations of boroughs, thematic commissions, among others. With the objective of maximizing the impact of projects with activist goals.

This body of work is composed of sculptures -as a result of hypersensual and analytical object-making-, anti-system witchcraft -also known as White Magic-, performance auto-ethnography and collective experiences. 

   I have a deep commitment to White Magic and its potential for a contemporary art practice that is very much engaged with community, care and empathy. We may be in a world of Magic, in which “self” and “everything else” is the same thing. Therefore, White Magic is a realization system that, among other things, allows us to renew bonds within ourselves and everything else. That act —which we understand as a ritual— of asking for help/revelations to expand/encourage our identities. I support this notion of White Magic because is the one my father and the GFU I work with use; being a fluid mixture of informed inter-local theoretical frameworks and indigenous community knowledge in Abya Yala.

I used to accompany my grandmother to La Merced market –Mexico City–, so I grew up in a place surrounded by women full of life. They transmitted the abilities of my ancestors and joyful approaches to singular aesthetic identities. Once I became an artist, those concepts stuck with me.  

For the past two years, I’ve been researching how to encourage collective processes of organising materials in London. I am focused on the taxonomy of materials: on the need to challenge categories and to reconsider further specifications.

Muds — Dolores Mendo: Photography and Edition

Medium: Gold, Muds (41 unglazed ceramic pieces) and moving image of the process, Stone, Oak, QCT Phoenix Plasma Propulsion Thruster and Faraday probe array (in collaboration with Imperial College), Sociogram, Materials table, Non-destructive Compositional Analysis, MTL. / OBJ. files, the materials for the performance, myself and collaborative space. 

Collaborative space: A series of events will take place at RCA2021 Platform (via ) and at "Proxy", the physical MA Sculpture Degree Show at Cromwell Place, London.

The curated collaborators come from inter-disciplinary backgrounds but had chosen to bind them under a single moniker Magic Seekers –– which we understand as a vehement and vertiginous person, deeply politicized and at the same time committed to their personal realization processes––. Each collaborator is welcome to use the space as they please, creating dialogue using Araceli's research, whilst having fun and exploring their own practices.

Additional Instructions: download the Roar app and point your mobile phone at the trigger image or use VR to engage with the Stone and Muds elements.

Non-destructive Compositional Analysis