Suspiciousvision / falseblindness. On an exhibition of works by Sofía Echeverri
Tuesday, 11 March 2014 11:27
Written by Erik Castillo
In this manner, the two levels of drawing, whether through the superposition of papers or cohabitation of different figures on a same support, shape iconographies or contradictory structures that produce two kinds of meaning. On the one hand are the sequences of circular geometric elements that reveal the essence of naturalist figures, and on the other, complex linear formations representing collapse processes or mutations in which the principle of order and of random expansion coexist.
The aesthetic qualities of the works featuring mixtures of post-geometric and pro-organic shapes such as meanders (Cells series) involve a register in which abstraction is open and no longer merely a modern style of visual representation as, in its quest to structure extravagant schemas, it depicts the transformation that emerges from the counter-modern relationship created by abstract practices in the last 30 years (cf Franz Ackermann, the collective Knowbotic Research and Peter Halley) when they used this kind of visuality to create maps or models of fragments of the social, economic and mental reality. The games with which to work with various intervention policies lend discursive coherence to Echeverri’s work, in a discursive, inconsistent cultural environment. Meanwhile, this discourse’s productive intention of contributing to an aesthetic based on systems provides the conditions to look at suspicionvision / falseblindness, recognizing that we are on the side of feeling.
The exhibition Suspicionvision / falseblindness displays a simultaneous sequence of works, produced in separate series with elements in common. The display of images and the aspects allowing the chain interpretation of each series demonstrate that here the discursive nucleus consists of what is known in Postmodernism as the technologies of I. This is the representation of “figurative” and “abstract” situations in which the subject of the image or formal sequence carries out self-exploration ceremonies (anachoresis) seeking knowledge about everyday experiences or the field in which this “I” or these forms exist, and which in this case are images engaging in dialogues – tense, ironical, affirmative – with references to the modern artistic environment.
A comparative interpretation of the series and of each specific piece (since they are created under the logic of intervention), works under the terms of the vision of a plastic palimpsest, a “document” with marks made over layers that also contains graphs.
A comparative interpretation of the series and of each specific piece (since they are created under the logic of intervention), works under the terms of the vision of a plastic palimpsest, a “document” with marks made over layers that also contains graphs.
In this manner, the two levels of drawing, whether through the superposition of papers or cohabitation of different figures on a same support, shape iconographies or contradictory structures that produce two kinds of meaning. On the one hand are the sequences of circular geometric elements that reveal the essence of naturalist figures, and on the other, complex linear formations representing collapse processes or mutations in which the principle of order and of random expansion coexist.
The aesthetic qualities of the works featuring mixtures of post-geometric and pro-organic shapes such as meanders (Cells series) involve a register in which abstraction is open and no longer merely a modern style of visual representation as, in its quest to structure extravagant schemas, it depicts the transformation that emerges from the counter-modern relationship created by abstract practices in the last 30 years (cf Franz Ackermann, the collective Knowbotic Research and Peter Halley) when they used this kind of visuality to create maps or models of fragments of the social, economic and mental reality. The games with which to work with various intervention policies lend discursive coherence to Echeverri’s work, in a discursive, inconsistent cultural environment. Meanwhile, this discourse’s productive intention of contributing to an aesthetic based on systems provides the conditions to look at suspicionvision / falseblindness, recognizing that we are on the side of feeling.