Curatorial text from exibition at UDESC- Cristina Brattig Almeida and Marivone Dias

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In contemporary art, form seeks metamorphosis. The transformation of matter. The word metamorphosis derives from Greek μεταμόρφωσις (metamorphoses, transformation): from μετα, the prefix meta – after, and μορφή, the sufix morfo – form. Ovid, an ancient Roman poet, narrates of “forms changed into new bodies.” Cristina Almeida and Marivone Dias transform matter and mold the passage of time in sculpture and painting. By sculpting, Cristina models mythological beings, bodies and torsos—images surrounding her plastic-poetic imaginary. On the canvas, Marivone works with layers of color and texture, mimicking fabrics, meshes, leaves and other shapes into her image repertoire. Rusted matter is found in details of some works—only in the details. Remains and rust are gaps through which time is felt. In their work, the artists act in the interlude—a porous, residual time that requires an archeological approach to seismic faults and to the fractures of the contemporary. Giorgio Agamben, in fact, considers every work of art to be a fragment of a gesture, a vestige, a trace of time imprinted in matter. A remnant is a deferred presence. The time of the remains is a confluence of times. Matter, remains, rust: a dance of impure and heterogeneous forms (forces).

 

Curators: Sandra Makowiecky

Professor of Art History and Criticism – UDESC

Josimar Ferreira

Literature Doctor degree UFSC; Professor of Art History