Deborah Zlotsky (1962-); “LifeLike”, o orgânico verosímil

Deborah Zlotsky vive e trabalha nos Estados Unidos. Entre 2007 e 2011 produziu uma série de desenhos a grafite sobre mylar (uma película plástica) que invocam formas orgânicas, tanto vegetais como animais. Nestes desenhos, cuja série apelidou de “Lifelike”, a artista manipula grafite em pó, espalhando, apagando, arrastando e pintando esse material para obter formas que são inverosímeis mas de certa maneira, simultaneamente credíveis.

↑Deborah Zlotsky, Vumb. 2010 (série LifeLike)

↑Deborah Zlotsky, Kachumpination. 2010 (série LifeLike)

↑Deborah Zlotsky, Munter. 2010 (série LifeLike)

↑Deborah Zlotsky, Arringaling. 2006 (série LifeLike)

↑Deborah Zlotsky, Yowlp. 2011 (série LifeLike)

Deborah encara os seus desenhos como experiências cujo resultado final é imprevisível. Muitas das formas são obtidas acidentalmente pela própria manipulação dos materiais e Deborah explora essas irregularidades e complexidades que encontra.

↑Deborah Zlotsky, Exterp. 2009 (série LifeLike)

Recentemente, a artista trabalha numa série de pinturas a óleo entitulada “Adjacent Possibilities”

↑Deborah Zlotsky, Evidently. 2011 (série Adjacent Possibilities)

↑Deborah Zlotsky, All that follows. 2011 (série Adjacent Possibilities)

O site da artista: http://deborahzlotsky.com/home.html

© Sala 17 /António Marques 2012

“In both my drawings and paintings, I work responsively, constantly altering relationships and exploring contingencies in a process of accumulating, assembling and revising.

In the drawing series LifeLike, I manipulate powdered graphite on sheets of mylar through a process of documenting what I imagine I see as the velvety material is spread, painted, blown, erased, wiped and smudged. While the results are fictitious, the concreteness of the illusion I conjure up blurs boundaries between documenting nature and inventing nature. The uncertainty between the two raises questions about what we identify as natural and credible. Despite the accidental way I search for signs of life in the smears, the botanical/biological forms acquire the irregularities, complexities and beauty of the natural world. 

In nature, the way organisms and systems seek alternative states of being by shifting slightly from a designated path is understood as the adjacent possible. I refer to this phenomenon of mutability by arranging and rearranging relationships in my paintings to uncover unexpected anomalies. As I adjust one relationship, another slips out of balance. Overlaying, abrading, reconfiguring, and repeatedly repainting and revarnishing create slippage between the past, present and future, as accidents and change remain visible in each work. Although abstract, the work comes out of a personal awareness of the complexity, subtleties and coincidences of being in the world.

Advertisements