“Untitled”
Untitled
(SKU. 7140)
-
Date
2018 -
Technique
engraving on photography -
Dimensions
114 x 89 x 6 (each) -
Edition
12 + 3PA -
Comes with certificate of authenticity
Couldn't load pickup availability
In "Untitled", Rosângela Dorazio superimposes engraving on photography. The artist subtracts the surface layer and makes the void, the white of the paper, appear. This action remains in the work. We can see the tears in the photograph, the threads that are still attached to the foreground and that must be there, since they compose the new image with it. The gesture deconstructs the captured image. There is a procedure of making for a conscious undoing, including the tension caused by technical control and the intrinsic risk in the definitive actions of cutting, in which lack of control so often arises. The images of plants and landscapes make us think of nature that changes and the impermanence of everything.
The prints can be purchased separately, for R$11,000.00 each.
Biography
Rosangela Dorazio
The artist's prints, drawings and photographs always feature interferences that reinforce the idea of the image as a construction of meaning. A graduate in Fine Arts from FAAP, she was awarded at the 28th Annual Arts Festival of the same institution and at the 2nd Contemporary Art Competition of the Itamaraty. She has participated in several solo and group exhibitions in Brazil and abroad. The artist's work is included in collections such as the Museum of Modern Art (MAM) in São Paulo, the Museum of Contemporary Art (MAC) in Fortaleza, Americana and Sorocaba, and the Instituto Peruano Norte Americano.
Since the beginning of her career, Dorazio has used engraving as her main medium, demonstrating a strong interest in the interpretation of the landscape and its memory. In the series "Torres", from 2003, and in the series "Jogo", from 2004, Rosângela reproduces figures that fade away, disappearing little by little. In her most recent series, the artist works with engravings on photographs of landscapes that end up erasing the traces of the original image, leaving only traces or reflections of what was portrayed visible.
The artist states that “when you take a photograph, you record a landscape that has already died. When I make an engraving from that image, it is as if I revive that landscape. In engraving, you also work with the notion of subtraction, but when you scrape the paper, the work gains volume.”
Representative galleries
Gaby Indio da Costa Office , Rio de Janeiro
Celma Albuquerque Art Gallery , Belo Horizonte
Destaques da carreira
-
"Aos pares" | obra exposta no Centro Cultural São Paulo, SP
-
"Mato Dentro" | 2019 | instalação no Museu de Arte Sacra de São Paulo, SP
-
"Inconfissão" | 2019| Museu Mineiro, Belo Horizonte, MG
