In Patricia Carparelli's canvases, colors take shape as streams of the unconscious. The spectator can see isolated figures that, when seen in the whole, reveal diverse memories and colors that intertwine, making connections between the dream universe and reality. Water and time, two of its important starting points, take shape by means of the fluid and watercolor tones that paint directly on the canvas, without the need of drafts. If they had sound, the oil paintings of the artist would emit the sound of the sea, which can send to the maternal womb - a space of warmth of human pains and where the light transpasses in a delicate and solar way.
"The union between the aquatic universe and the terrain - if we let the body float in the waters, now emersed, now submerged - is one of the sensations that emerged as the starting point of Carparelli to develop his artistic flow still small," says the curator. "Their research is focused on the relationships between clinical trials and diverse therapies - such as art therapy or Carl Jung's thoughts," adds Ralston.
Patricia Carparelli's fluidity involves one of Conrado Zanotto's striking sculptures, erected in the middle of the exhibition space. Horns, Bones, Phalluses, Holes, Guts ..., part of the series developed by the artist titled Empirics, gathers about 150 pieces made of clay and porcelain. The project took shape from organic forms, which began to talk among themselves, and revealed themselves in imperfect fittings. Starting from the principle of coexistence, Zanotto decided to join each fragment into an assembly experience - none of them will reach the shape and fit of another, turning into unique experiments.
To compose the main piece, about 50 kilos of raw clay were used from different places, from the more rustic ones - like the one of the Chapada dos Veadeiros (GO), of pink coloration, until the porcelain. The search for this variation of materials, preparation, manual modeling piece by piece, with individual treatment and finishing, are exercises done by the artist over 20 months. "The installation is marked by an escape from the weight, as if its problematic insertion in the world should begin by excluding the law of universal gravity. Escape that water also allows us, "concludes the curator.