NATURAL IMPRESSIONS
The 64 artists from 22 different nationalities selected for this exhibition not only enrich our consensus on artistic expression and cultural perspective but also expand our understanding of nature and its representation in the arts. This reflective approach challenges established conventions, allowing for diverse interpretations and representations of the world. It awakens human consciousness to the source of inspiration that the capacity to imagine represents, encouraging the audience to reflect on their relationship with the world and recognize the importance of art as a profound connection with the intrinsic essence of humanity.
The 64 artists from 22 different nationalities selected for this exhibition not only enrich our consensus on artistic expression and cultural perspective but also expand our understanding of nature and its representation in the arts. This reflective approach challenges established conventions, allowing for diverse interpretations and representations of the world. It awakens human consciousness to the source of inspiration that the capacity to imagine represents, encouraging the audience to reflect on their relationship with the world and recognize the importance of art as a profound connection with the intrinsic essence of humanity.
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SÓNIA ANICETO
Brussels, Belgium
90
Sónia Aniceto’s work lies at the
crossroads between painting and
textile art. In a broader approach
to painting, she combines applied
colors, embroidery, mechanical
free-stitch, and drawing on ‘drop
paper,’ a flexible, fibrous material
similar to fabric. The result is a threedimensional
weave. The delicacy
of the drawing, the resilience of the
paper, its transparencies, thicknesses,
suppleness, and tensions create a
world of intimacy, full of strength as well
as fragility. Her work is multi-faceted,
drawing on narrative pieces, overlaps,
and interlocking scenes. Her approach
is certainly intriguing: a kaleidoscope
of stories and sensations that combine
to form a whole, an identity. Sónia
oscillates between innocence and
adulthood, between freedom and
restraint in these enigmatic spaces of
hers, and in an ambivalent “surreality”
that is not constrained by logic. She
likes to disrupt spatial and temporal
reference points. The reference to the
body is omnipresent, a fragmentary,
almost lacking body of which she offers
a partial vision, so fragmented that
it becomes imaginary, like a vague
memory. A kind of inevitable evolution
towards abstraction begins, like an
endless landscape, more atmospheric
than figurative. In her recent works,
Sónia explores the notion of territory.
Shared, conquered, marked, known,
experienced, crossed, recognized,
appropriated, moved, familiar... so
many ways of inhabiting the world that
transforms the human being. These
“landscapes” are like a journey through
fantasized places and geographies
tinged with affect. They invite us
to multiply worlds in order to make
ours more welcoming. Alongside her
works on canvas and paper, Sónia
is also developing an installation
practice. “TEIA” is a polymorphous,
collaborative, in situ textile work in
progress. It is a project that is being
renewed, transformed, transited, and
evolving since 2017. Like a shifting,
suspended, floating territory, this
installation proposes to reweave links
in order to better question the ideas of
displacement and uprooting and, above
all, our connection with the world.
TEIA, 2022
Crochet
157.4 x 157.4 x 157.4 in (400 x 400 x400 cm) aprox.
UN MONDE EXTENSIBLE, 2022
Free mechanical dot on drawing and oil painting
on drop paper
43.3 x 35.4 in (110 x 90 cm)
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