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emaranhado

24.50"W x 17.70"H x 0.1"D

$480 (Shipping Included)

Buy Original Commission a Piece

Medium: Painting

Subject Tags: streetscape, black-and-white, black, modern, paper, acrylic

Media: acrylic on paper

Size: 24.5"W x 17.7"H x 0.1"D

Year Created: 2013

This painting was motivated by the wires and electric poles that compose the landscape of some places in São Paulo (Brazil). However, more than the representation of this specific landscape, the perspective and minimalism of the painting imprint in the paper the fascination by the shapes. From figurative to abstract, the painting tries to assemble a field of possibilities and affects that aren't experienced by the representation of an everyday landscape.
The painting needs to be framed. It will be shipping securely, inside a box, rolled in a tube and wrapped in acid free tissue paper.

The painter was born in 1983 and lives in São Paulo, Brazil. Being a self-taught artist, she paints since the age of 14. She started a Bachelor degree in Plastic Arts, but didn’t stay for too long. Nowadays she holds a Bachelor degree and a PhD in Literary Theory. Instead of making her forget about painting, the academic writing and reflections incited her to think about what she calls a “politics of the art”, which comprises the artist’s responsibility to think about the conditions and forms of the artwork. Since 2012, when she started her pictorial project “Le suicide est à la mode” (original title in French), proposing to think on the self-portrait genre, she has been signing her work as “MáquinaDeEscorrer” (or “máquina.de.escorrer”). More than a response to the constant tendency towards the biographism as the final meaning of the artwork, the change in the signature tries to signal another subjectivation process that, akin to Gilles Deleuze’s philosophy, doesn’t presuppose anymore the I as the origin. For, with the Máquina (Machine), what slip are identities, fixed and predefined, the categorizations that constitute the daily narcosis. It’s a way to say that painting, as well as the other artistic manifestations, must propose other ways of agency between the bodies in which these manifestations are inscribed and the languages produced by them, inventing therefore new ways of seeing and saying.

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