Download here the Visitor's guide. - Les Ateliers de Rennes
Download here the Visitor's guide. - Les Ateliers de Rennes
Download here the Visitor's guide. - Les Ateliers de Rennes
You also want an ePaper? Increase the reach of your titles
YUMPU automatically turns print PDFs into web optimized ePapers that Google loves.
48<br />
<strong>Les</strong> Prairies's artists<br />
FERNANDA GOMES<br />
Untitled, 2012. Courtesy galery Luisa Strina, São Paulo, and galery Emmanuel Hervé, Paris.<br />
Photography : Fernanda Gomes.<br />
Fernanda Gomes's art is distinguished by a particular way of occupying a space<br />
and spreading into it, and by its sensitive interaction with a given environment.<br />
Her productions are linked to places w<strong>here</strong> things happen – exhibition spaces, <strong>the</strong>ir<br />
surroundings, <strong>the</strong> street or <strong>the</strong> home. Her work is replete with paradox. It is spacious<br />
yet her minuscule materials are sometimes barely visible. It is scattered yet a discreet<br />
grid un<strong>de</strong>rlies her composition. Her atonal palette – sand, white, grey – merges into <strong>the</strong><br />
surroundings. At <strong>the</strong> same time <strong>de</strong>tails which are compositions in <strong>the</strong>mselves stand out:<br />
a glass of water emphasises a groove in <strong>the</strong> floor; a gold needle stuck in <strong>the</strong> wall reaches<br />
out to you and indicates <strong>the</strong> wall. These multifarious elements are gleaned from all over<br />
<strong>the</strong> place – <strong>the</strong> way an animal ferrets about for provisions. Gomez calls <strong>the</strong>m "things":<br />
everyday objects, pieces of furniture, glasses (sometimes full of water), mirrors, coins,<br />
twigs, newspapers, pieces of string, magnets, scraps and fragments. Some (needles, dust,<br />
hair, cigarette ends) are tiny. Gomez examines <strong>the</strong> architecture to make it her material.<br />
Space is composed of invisible matter; insignificant aspects (rough edges, corners,<br />
windows) become signs and typical shapes. She treats <strong>the</strong> void as architectonic space,<br />
and dust as a colour. Her compositions are an inner journey to <strong>the</strong> centre of a constructed<br />
world. In keeping with <strong>the</strong> Brazilian Neo-Concretists her art is both formal and political.<br />
Through its abstract language it gives rise to <strong>the</strong> sensitive and intelligible experience of<br />
an invisible, abandoned, poverty-stricken reality at <strong>the</strong> outer edge of one's gaze.<br />
tr. J.H.<br />
Born in 1960 in Rio <strong>de</strong> Janeiro (Brazil), w<strong>here</strong> she lives and works.<br />
Production<br />
<strong>Les</strong> <strong>Ateliers</strong> <strong>de</strong> <strong>Rennes</strong> 2012.