Hidden in the Mitte neighborhood of Berlin is a small gallery called Mila Kunst where a group exhibition took place this summer in association with TransArt Institute. Revolve paid a visit and discovered among the artists represented at Mila Kunst, three who stood out for their common theme, showing aspects of the natural enviroment in different mediums. Julia Hyde from the United States exhibited beautifully detailed realist charcoal drawings of tree trunks; Gabriela Gusmão from Brazil displayed a fascinating photograph series of butterfly and moth chrysalis; and Alexandra Wolframm depicted what seem like clouds in the sky on large paintings, but that are formed from industry pollution.
Clouds are a common natural phenomenon. Often however, clouds that might seem natural at first sight are caused by man. This work is intended as a subjective archive of the formation of clouds in places with industrial sites: European industrial harbors, where naval traffic fosters the formation of a dense blanket of clouds, altering the climatic conditions of the affected coastal zones, or steel plants and power stations all over Europe emitting greenhouse gases. The work is also a reflection on the less obvious effects of human interference with nature, questioning our perception of “nature” or its representation.
My work is driven by the immediacy and directness inherent in drawing. Drawing highlights the temporal and the operational elements of a process-based mode of working. These are made apparent through the visibility of the marks and the physical gestures, as time and action are registered on the paper. Using fine observational skills often manifested in detailed drawings, my intention is to work the line of tension between my own control and that of natural processes.
Currently, I use drawing to gain a clearer understanding of the forest and the humannature power dynamic reflected within the Forêt de Soignes in Brussels, Belgium. In the charcoal drawings of tree bark, I am transformed from a simple observer to a medium of execution. While drawing, various elements of the process are recorded. The paper has been extended to cover the ground beneath the drawing, capturing the charcoal and powder that falls, allowing my footsteps to leave traces across the paper, recording my movements.
I am a Brazilian artist immersed in a process of transforming the banal into the original through multiple media including photography, film, sculpture, drawings and installations. I focus on and devote the same degree of concentration to the rhythm of natural cycles (captured in my experimental videos) and to the flow of the crowd in public spaces (locus of several interventions). This back and forth movement involves a peculiar process, where solitude and multitudes, silence and polyphony, are equally essential.
I am currently developing a work called Metaformosas. This title is the product of the meeting of two words in Portuguese: metamorfose (metamorphosis) and formosura (beauty). Formosa (beautiful) is the feminine adjective describing a figure endowed with beauty. Thus, the work entitled Metaformosas addresses the beauty in the process of metamorphosis, which I see as a metaphor for the creative process itself.
This article featured in Issue #13 (Fall 2014) of Revolve Magazine on pages 74-79.