Tudo é Casa, Casca, Escasso, Ocaso, Corpo
Born in Belo Horizonte (MG) in 1993, Alcântara is an Audiovisual Graduate of Oi Kabum! BH – Art and Technology Technical School/2012. In 2015 she graduated in Plastic Arts from Guignard School – UEMG. Space is her main object of interest and research. In her productions, she seeks to portray individual perceptions about a specific place and the relations among all the elements that make it up. Her works are developed through different means, such as audiovisual communications, ceramics, drawings and engravings. She also works as a curator and visual arts producer.
In this exhibition, Luiza Alcântara presents drawings, photographs and ceramic pieces, in addition to the video installation Desmanche, shown for the very first time. In the video works, we see miniatures of the houses the artist lived in throughout her life, made of clay and submersed in liquid, which will eventually dissolve them and make them vanish.
Dissolving are, therefore, the spaces of intimacy and memory, just as are the skin and the body that gradually dissolve in face of the accelerated flow of time. A witness to what Walter Benjamin elaborated in his 1931 text called “The Destructive Character”, which according to the philosopher “knows only one watchword: make room. And only one activity: clearing away”. The image of the house as an architectural and subjective space evokes what Gaston Bachelard described as “the synthesis of immemorial and recollected. In this remote region, memory and imagination remain associated”.
Under such a symbolic condition, and not restricted to Luiza Alcântara’s biography, the houses are places inhabited by all of us and carried by us in our memories, archetypical, constantly mobilized in the flowing of time. Commonly linked to the body and its becomings, the facts involving intimate memories and sensibility are dealt with by the artist so as to allow the metaphorization of the senses, as well as the delicate observation of its fragile materialities.
Above all in her drawings, there is an implicit presence of the body as a sensible matrix that motivates the relationships established with real and imaginary architectures (Afetos), with storage pots whose entireness is undone (Potes de Outro), as well as seeds and vegetables that imply anthropomorphies (No quanto de mim que se faz agora, Vulvas and Aste). The house – like the language – is the realm of being. And underneath this same roof, where she seeks shelter according to her body, a surface of active interaction between exteriority and interiority is also raised.
The works gathered in the exhibition establish deals between certain structures and emptiness: be it in the white space of the drawings, in the hollow of the ceramics, in the houses that turn into ruins, or on a sheet of paper completely filled with the artist’s delicate strokes. And poetic are the words Luiza Alcântara chooses to come to a conclusion about her own production: “All is house, peel, scarce, chance, body”.
Assuming a phenomenological sense, the artist conceives the experiences as something that dilutes into its own materialities, just as it happens to the clay houses that melt, or to the pots made by gaps and ancestral marks. Furthermore, her fragmented architectures, mapped by chromatic zones that go across and reaffirm the affectionate construction of the space, and even the organic forms are, equally, structured. The seeds collected personally by the artist live with ceramic replicas, that reestablish the call of touch present in the images and in the small sculptures as well, both prolonging the extension of the skin through the eyes.
Júlio Martins, curator
Júlio Martins, curator.
Map and captions
of the works:
Doube-projection Video Installation, 2017-19
Crayon over paper, 66 x 52 cm, 2016
Crayon over paper, 66 x 52 cm, 2016
Crayon and watercolor over paper, various dimensions, 2018-19
5) No quanto de mim que se faz agora: semente
Photography and ceramics, various dimensions, 2019
6) Potes de ouro
Graphic paint over paper, 110 x 75 cm, 2018