The pale coyote.
This work is conceived in the forests of Catalunya where a bandit anti-monarchic lived in the 18th century. Inspired by a real fact. Silent wet forests of dark, full of moss and betrayals. From there, the visitor must imagine before completing the circuit of the artwork.
This is a piece of sound that accompanies 3 photographs of the moss. 3 photographs, a headphone, one sound player device for audio.
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Upon opting for the modular structure, Mazeredo creates, for starters, an internal dialogue within each of her work pieces, based in the formal relationship between the used modules. This happens because the module synthesized by the artist, depending on how it is repeated in the space, transcends its basic meaning of mouth and begins suggesting, through the formal game and symbolic language, many other possibilities, such as butterflies (two juxtaposed modules resembles wings), stars (formed by the angles between the modules), totems (suggested by the vertical construction of the modules), locks (suggested by the inner space between the modules), just to mention a few possibilities of formal reading.
Mazeredo has reinforced in her sculptures the dimension of art as a constructive game, serial and modular, seeking not a passive contemplation of the visitor, but its active participation, the interaction of people with her art, as wholly as possible.
Dina Oliveira's paintings reveals a certain way, from the study of his silent gaze, in search of the inexhaustible variety of color that generates the work of time through primitive textures
Gestural foundations that visualize a source of creation integrated into the passage of a certain rupture that connects man to nature; the global vision of the universe with its support and poetic conviction, and a vibrant and lyrical conception of painting. Meeting of color and texture, in a universe where the moods of the sky and space swirl and distill the rainbow in the opacity of the earth, in a new tinted movement, which crosses the earthly ochres, and composed a mass of materials and volumes subject to rules well inserted in a close communion between history and the rhythm of the world.
In Dina Oliveira's work, the entire meaning lies in the persistent struggle to reclaim the immemorial symbolism of the antagonistic forces of time, to create a contemporary language. This discourse touches upon the rhythm and transgression of the internal imprint of the earth and fabric, like a tension between opposing forces, where new images, developed with complete freedom, are manifested.
This existential question, visually recreated by Dina's painting, leads us to believe that the artist draws her inspiration from the aboriginal objects of Brazil. She lives in Amazonia, inspired by the daily life of its landscapes and people.
Dense forests, immense rivers and the daily labor of the "caboclos" around its riverine areas. A world masked by ceremonies of time and rhythms, where the heat of fires and the plant dyes of the tropics rush and liquefy: a painting that is constructed like a meditative writing and an exploration of inner life within a splendor and ceremonial of time.
Isaac Ortizar -art critic
“René Francisco (...) indaga en la literatura y sus soportes, con vocación problemática e inquisidora, en una visualidad que emula con el más pirotécnico arte pop. El trazo trasciende los marcos y se extiende por las paredes, para recrear una especie de biblioteca onírica.
La “obsesión” por la palabra escrita y publicada es evidente, es manifiesta también la “crónica” sobre el choque de los soportes tradicionales y las nuevas tecnologías, pero quedan otras “provocaciones”... En uno de los cuadros, los libros conforman una ciudad, cuyas plazas, calles y repartos llevan nombres de escritores “malditos”...
Y la hermosísima imagen de los libros y las computadoras portátiles que vuelan en bandadas —en un videoarte fascinante, fluido, embriagador— tiene un clímax contundente, por más que uno se lo espere”.
Video 3D animación, 00:03:06 min. / 3D animation short. Ed. 1/5
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