|Data / Local||Evento / Information|
The other one* was all I tought when I was wondering how I should name the exhibition. It was the one that have different things on display, smaller works, with less space... other ones. Totally different than THE one exhibition but still a big and intimate group of a woman's way of thinking turning into drawings and other things, transformed toughts and visual feelings. I tought on how many things have other meanings and as I started to define just one, i realized the sequence that comes along: one, two, three, thirty, and then the other one! It started to happen at @obstetriciacontemporanea the other one (A OUTRA) and THE one, that happens to be called CRISÁLIDA, is at @ruis.com.br until 2021, to give it time to happen.
*A Outra, in portuguese means the other one.
The meditative images of Celaine Refosco.
Icaro Ferraz Vidal Junior
To present the production of Celaine Refosco gathered at Crisálida requires some clarification about the nature of the creative gesture and the artist's transit through its different modalities. A nuance is necessary: the point of view of the artist's trajectory in the textile industry has to do with the difference between creativity and invention, which her recent foray into the visual arts makes evident. Creativity is a skill that can be developed by a large number of individuals. It has been studied by different areas of knowledge and enjoys great prestige amid the jargon of entrepreneurship that today invades not only the ways of organizing work, but also the ways in which contemporary subjects think of themselves and their presence in the world. But, creativity should not be confused with the inventive gesture of creation, because it consists of proposing answers to problems that have already been fully formulated. The creative can conceive extremely original and counter-intuitive solutions, but cannot create, because to create is to create the problem.
After a solid trajectory in the textile industry and in the training of professionals for the creative industry, Celaine Refosco is now venturing into the field of invention. Using different techniques and languages, the artist creates a space for experimentation and freedom in which she starts to formulate her questions, starting from the encounter with different materials. This results in an unpretentiously heterogeneous production, which contains more the truth of a search than fidelity to a pre-defined poetics.
Thus, her drawings, paintings and textiles seem to precipitate a solution in which the artist and her surroundings intermingle. For this reason, the space of the artist's house-studio in the city of Pomerode is not a detail that can be neglected in the exegesis of her artistic production. There, at the top of a hill, we feel part of an expanded painting. The images created by the artist, at the same time absorb and extend through the adjacent domestic environment and the surrounding landscape. We are faced with an impossibility of the most instigating: that of defining watertight borders or stages that delimit the processes through which the artist, her house and her work acquire consistency. Who was born first, the arrangement of fruit on the table or the still life that we see near him?
Thinking about this production, partly figurative, as part of a procedural and subjective poetics presents some challenges, as figuration often triggers a representational expectation in reading the image. When we recognize a particular shape in a painting or drawing, we tend to leave the image to operate in the mental space of the interpretation. But in Refosco's images, the diversity of figurative themes works as a kind of trap because, ultimately, the discursiveness of representation matters less than the work as the residue of a process through which the artist produces herself, not like the egocentric romantics, but in an intimate relationship with the constant transformation of their surroundings, their images and their subjectivity.
There is a passage in the history of contemporary art that, in spite of its commercial success (or perhaps because of that), was the object of quite harsh criticisms due to an alleged formalism and the contemplative regime that, in theory, established with its bourgeois public. I refer to informalism which, in different parts of the world, made an important transition from the ambition of pure modernist painting to the conceptualisms of the 1960s and 1970s. If Refosco's images do not immediately refer to the informal, after all, his themes are frequently figurative and their creative processes are, in most cases, more meticulous than gestural, there is something about Celaine's inventiveness that informalism helps us to understand.
I am referring to the idea reasonably formulated by the Italian critic Maurizio Calvesi that informal work is a slice of life (une tranche de vie). The implications of this diagnosis are many, but the most important of them is that this idea represented the abandonment of a supposed autonomy of art, and contributed to the strengthening of the relationship between art and life. In Refosco's poetics, as in informalism, there is no space for the idea of a masterpiece. After all, when art infiltrates life, it abandons all predefined purposes. In creation, in its most potent form - inventive -, we do not know in advance where we want to go. There is something in the images of the artist that refer us to meditative practices, they testify to the impossibility of living outside the present time, a time in which creation flows like a river, detached from its source and without anxiety to reach the sea.
Rua Castro Alves, 78 - Vila Nova
Blumenau, Santa Catarina, Brasil
Visit by previous appointment.