GETTING OFF THE LINE III
Fernanda Perracini Milani Art Gallery
Polytheama Theater – Jundiaà (SP)
From: 16/07/2011 to 07/08/2011
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Getting off the Line III Solid drawing (wire) and represented drawing
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Getting off the Line III Solid drawing (wire) and represented drawing
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Getting off the Line III Solid drawing (wire)
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Getting off the Line III Solid drawing (wire) and represented drawing
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Getting off the Line III Solid drawing (wire and ironmongery)
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Getting off the Line III Appropriation art (nightstand) and solid drawing
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Getting off the Line III Appropriation art (nightstand) and solid drawing
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Getting off the Line III Cocoons (solid drawing: wire objects and ironmongery)
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Getting off the Line III Cocoons (solid drawing: wire objects and ironmongery)
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Getting off the Line III Installation
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Getting off the Line III Installation
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Getting off the Line III Installation
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Getting off the Line III Cocoon (wire object)
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Getting off the Line III Cocoons (details)
Getting off the Line IIISolid drawing (wire) and represented drawing
Getting off the Line III Solid drawing (wire) and represented drawing
Getting off the Line III Solid drawing (wire)
Getting off the Line III Solid drawing (wire) and represented drawing
Getting off the Line III Solid drawing (wire and ironmongery)
Getting off the Line III Appropriation art (nightstand) and solid drawing
Getting off the Line III Appropriation art (nightstand) and solid drawing
Getting off the Line III Cocoons (solid drawing: wire objects and ironmongery)
Getting off the Line III Cocoons (solid drawing: wire objects and ironmongery)
Getting off the Line III Installation
Getting off the Line III Installation
Getting off the Line III Installation
Getting off the Line III Cocoon (wire object)
Getting off the Line III Cocoons (details)
Sewn Territory, Installed Design
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The current moment of the artist Vicencia Gonsales is based on the drawing and the line, which has been used as a structural element in the area of representation of her creative process, both in his bidimensional works and in her spacial and tridimensional works.
In this installation, the artist discusses the territorial expansion of arts, investigates the relation figure / background of the line in its surroundings, questions the architectural space used as support and symbolic territory to materialize her ideas.
Her intervention deconstructs the architectural space, using it as a support, presenting and revealing new social relations and, at the same time, proposing new possibilities.
The work consists of several elements that make up the installation: interwoven webs, entangled structures, cocoons, floating solid drawings in space, graphite drawings that take the walls and solid graphic lines that weave and cross that space. Also here, as a component of this work, there is the body and the participation of the spectator who brings his/her physical presence, plus his/her visual and perceptive exploration of this installation, in the place as a whole.
The work also highlights two important aspects. On the one hand, it presents its materiality of rigid, yet light aspect of the metal used. On the other, it presents the creative process and the artist's action in space - issues clearly perceived by the viewer.
It is a work that goes beyond limits, a radical intervention in space, extremely vigorous and, concurrently, balanced and refined.
Waldo Bravo
ARTIST-CURATOR AND ART-EDUCATOR
"My art talks about the feminine universe, about my dreams as a child, about the curious look kept in my memory, about the life in the countryside and the smell of wet soil, about the joy of living. I talk about the moments of loneliness, about looking at the immensity of the universe and beyond. I talk about the lived moments, about the non-lived ones, about the plots of the world, about the human being. Creating, for me, it's a necessity."
