Landscapes, traces and journeys
Friday, 04 April 2014 13:40
Written by -
In her most recent explorations, Perla Krauze reproduces the traces of changes produced by Nature in urban spaces, capturing the memory of these spaces with impressions of cast resin, such as the cracks in the sidewalk. There is an evident desire to present and replicate the unique forms of Nature. For Krauze, the act of “reproducing” is a relentless struggle against the ephemeral nature of the daily urban landscape. As a result, here the translucent cast resin captures an unnoticed reflection of the everyday urban environment.
The resin reproductions of the cracks depict the world outside the walls of the gallery. Krauze intervenes further by applying several layers of varnish to the original cracks in the street, to demonstrate a presence. Thus the skin of the city is introduced into the gallery through this process that replaces the dust and dirt of Mexico City with the sweet smell of resin.
The smell and toxicity of the material reminds the viewer of the practice of embalming bodies, of the desire to preserve shapes that change over time. Krauze chooses to use the liquid resin in a subtle effort to preserve and capture traces of herself and objects throughout the urban landscape.
Everything leaves traces, and the remains of the outside world are emphasized, creating new worlds with new topographies and landscapes inside the gallery. Krauze chooses reproduction tools and processes suited to the marks left by the objects that she is capturing. There is an immediate, direct transfer of surface, as much with industrial silicone for molding the cracks in a bench as with video, as an unedited impression. The videos of jacaranda flowers, recorded during her wanderings through Mexico City, explore the gaze of the artist moving in her daily world. In these reproductions of rocks, stones, cracks and strolls, Kahlo seeks to recreate an artificial urban environment but also enable each object to retain its "objectuality", as it has become a different version of its “natural” predecessor.
In her most recent explorations, Perla Krauze reproduces the traces of changes produced by Nature in urban spaces, capturing the memory of these spaces with impressions of cast resin, such as the cracks in the sidewalk. There is an evident desire to present and replicate the unique forms of Nature. For Krauze, the act of “reproducing” is a relentless struggle against the ephemeral nature of the daily urban landscape. As a result, here the translucent cast resin captures an unnoticed reflection of the everyday urban environment.
The resin reproductions of the cracks depict the world outside the walls of the gallery. Krauze intervenes further by applying several layers of varnish to the original cracks in the street, to demonstrate a presence. Thus the skin of the city is introduced into the gallery through this process that replaces the dust and dirt of Mexico City with the sweet smell of resin.
The smell and toxicity of the material reminds the viewer of the practice of embalming bodies, of the desire to preserve shapes that change over time. Krauze chooses to use the liquid resin in a subtle effort to preserve and capture traces of herself and objects throughout the urban landscape.
Everything leaves traces, and the remains of the outside world are emphasized, creating new worlds with new topographies and landscapes inside the gallery. Krauze chooses reproduction tools and processes suited to the marks left by the objects that she is capturing. There is an immediate, direct transfer of surface, as much with industrial silicone for molding the cracks in a bench as with video, as an unedited impression. The videos of jacaranda flowers, recorded during her wanderings through Mexico City, explore the gaze of the artist moving in her daily world. In these reproductions of rocks, stones, cracks and strolls, Kahlo seeks to recreate an artificial urban environment but also enable each object to retain its "objectuality", as it has become a different version of its “natural” predecessor.