“Ophelia Blue”
Ophelia Blue
(SKU. 7323)
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Date
2018 -
Technique
digital printing on Hahnemühle Photo Rag® 308g paper -
Dimensions
(H x W) 74 x 110 cm -
Edition
15 + 3PA -
Comes with certificate of authenticity
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In " Ophelia Blue", the artist presents a woman who is, apparently, in a state of limbo.
As she lies on the moss and in the water, there is a divine light that radiates the scene. Like a cloud accepting its cadence in the sea, her dress has metamorphosed into a coral sky. We do not know if she is alive or not, or even if she needs help.
Tschäpe is not so much concerned with developing this narrative, only with visually articulating timelessness as a fragment. While Shakespeare's Ophelia falls from a tree: "Weeping. Her clothes were torn open; and, like a mermaid, for a while they bore her..." Janaina's Ophelia is not the water, the dress, or even the woman herself, but rather the synthesis of all the elements that have no beginning or end.
For an artist who spends her days sorting through paints, pencils and crayons with names like “Aquamarine Blue, Cold Grey, Cadmium Red or Burnt Sienna” it’s a fun, almost pataphysical aesthetic heuristic she employs to arrive at meaning. Tschäpe struggles through her synesthetic memory to locate the right colors. Ophelia Blue cannot be found in any paint, pencil or crayon. Ophelia blue can be found where the sky meets the ocean. For Janaina, if infinity had a color, it would be " Ophelia Blue".
Biography
Janaina Tschäpe
Inflatable objects, sculptures, photographs, videos, drawings and paintings are the basis for the creation of Janaina Tschäpe's fantastic universes. The artist has participated in exhibitions at the Museo Nacional Centro de Arte Reina Sofia (Madrid, Spain), the Centre Pompidou (Paris, France), the New Museum (New York, USA) and her works are part of the collections of important institutions such as the Solomon R. Guggenheim Museum (New York, USA), the Museum of Modern Art of Rio de Janeiro (Rio de Janeiro, Brazil), the Moderna Museeto (Stockholm, Sweden), the Inhotim Center for Contemporary Art (Brumadinho, Brazil), among others.
The half-Brazilian, half-German artist, who began her training in the 1990s, spent years of her life constantly traveling – she has lived in cities such as Hamburg, Berlin, Curitiba, São Paulo, Rio de Janeiro, Salvador and New York. She began using photography and video as ways to document her relationships with these places, but the results became work objects. She also created several inflatable objects, some of which were integrated into female bodies and were three-dimensional. After a ten-year hiatus, the artist returned to painting and drawing. Janaina states that all media are complementary. They add up and relate to each other in the works developed by the artist.
The presence of water and the sea, as well as plants and forests, is very strong in all of Janaina's work. She creates her own universes, narratives for places and characters. She likes to mix fiction and reality. She uses the former as a basis for inventing the latter and returns to visuality with her imaginary creatures and lush environments.
As Luisa Duarte points out, “Organic forms have always been present in Janaina’s work. Sea, water, mermaids, half-human, half-non-human beings... It is no coincidence that the ocean is seen as an image of the unconscious. Formless, fluid, always in motion, impossible to hold in your hands. The artist’s work has, in the dreamlike dimension, an unavoidable point, which is why it is often associated with the creation of a fantastic world.” (DUARTE, Luisa. Ondulações na terra plana. O Globo, 11.06.2012).
Representative galleries
Fortes D'Aloia & Gabriel Gallery , Sao Paulo
Destaques da carreira
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"Pássaro que me engoliu" | 2016 | Exposição simultânea na Galeria e Galpão Fortes Vilaça
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"Pássaro que me engoliu" | 2016 | Exposição simultânea na Galeria e Galpão Fortes Vilaça
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"Flatland" | 2012 | Galpão Fortes Vilaça
