ABRE ALAS #18
Luiz Sisinno, Fragmentado 2, 2022
negativos antigos e fita de cetim
[old negatives and satin ribbon]
[old negatives and satin ribbon]
34 x 21 cm
[13 3/8 x 8 1/4 in]
0.1 kg
[13 3/8 x 8 1/4 in]
0.1 kg
Copyright O Artista
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Partindo de arquivos pessoais, Luiz Sisinno recompõe novos “álbuns de família”. Fragmentado 2 (2022) faz parte de uma série construída com negativos costurados por fitas pretas de cetim. O aspecto...
Partindo de arquivos pessoais, Luiz Sisinno recompõe novos “álbuns de família”. Fragmentado 2 (2022) faz parte de uma série construída com negativos costurados por fitas pretas de cetim. O aspecto irregular e frágil da obra coaduna com a precariedade das imagens – oníricas, mentais ou fotográficas – em sua tarefa de constituir um corpo substantivo da memória. No vasculhar de arquivos, nos recortes e reagrupamentos, o artista trava a busca pelo impossível, forjando, com o auxílio da luz que atravessa sua composição, novos lampejos de memória. Se em alguns negativos o instante ainda se mantém acessível, noutros as imagens se apagaram, emulando, na matéria, a debilidade das lembranças.
Starting from personal archives, Luiz Sisinno recomposes new “family albums”. Fragmentado 2 (Fragmented 2), 2022, is part of a series constructed with negatives sewn together with black satin ribbons. The irregular and fragile aspect of the work harmonizes with the precariousness of the images - oneiric, mental, or photographic - in their task of constituting a substantive body of memory. In the scouring of files, in the clipping and regrouping, the artist searches for the impossible, forging, with the help of the light that runs through his composition, new flashes of memory. If in some negatives the instant is still accessible, in others the images have been erased, emulating, in the matter, the weakness of the memories.
Starting from personal archives, Luiz Sisinno recomposes new “family albums”. Fragmentado 2 (Fragmented 2), 2022, is part of a series constructed with negatives sewn together with black satin ribbons. The irregular and fragile aspect of the work harmonizes with the precariousness of the images - oneiric, mental, or photographic - in their task of constituting a substantive body of memory. In the scouring of files, in the clipping and regrouping, the artist searches for the impossible, forging, with the help of the light that runs through his composition, new flashes of memory. If in some negatives the instant is still accessible, in others the images have been erased, emulating, in the matter, the weakness of the memories.