ATRAVESSAMENTO
[CROSSING]
Atravessamento [Crossing] galvanized steel electric cable tray 2011-14
With holes drilled at regular
intervals, the surface of the piece offers a complex play of opacities and
transparencies. As we move about the room, a sensitive optical and luminescent
dance flits across the walls of the piece, revealing a series of multiple metal
layers like an immanent X-ray. Here as elsewhere, the experience of the gaze is
interwoven with the phenomenology of the body. And it should not be otherwise.
After all, contrary to the assumptions of the perspectivist analysis, we do not
see the world in a static or monocular fashion, as if our eyes were mere
meeting points for geometric coordinates. Eliane sees vision as an incarnate
device that as such depends on our own subjective activity. The constructive
appearance of the work is merely a strategic diversion. Albeit obviously
geometric and projective, the overall structure of the work calls for the
scrutiny of living experience. The work introduces new architectural pathways,
involving not only the eye but also the body, the sense of touch, and even the
hearing of the viewer, who now finds himself impelled to engage in sensory
exploration.
Artur
Freitas, critic and historian, in Crossing
or the Anthropological Space,
text of the catalog Eliane Prolik Crossing,
2012, MuMA – Curtiba, Brazil
With holes drilled at regular
intervals, the surface of the piece offers a complex play of opacities and
transparencies. As we move about the room, a sensitive optical and luminescent
dance flits across the walls of the piece, revealing a series of multiple metal
layers like an immanent X-ray. Here as elsewhere, the experience of the gaze is
interwoven with the phenomenology of the body. And it should not be otherwise.
After all, contrary to the assumptions of the perspectivist analysis, we do not
see the world in a static or monocular fashion, as if our eyes were mere
meeting points for geometric coordinates. Eliane sees vision as an incarnate
device that as such depends on our own subjective activity. The constructive
appearance of the work is merely a strategic diversion. Albeit obviously
geometric and projective, the overall structure of the work calls for the
scrutiny of living experience. The work introduces new architectural pathways,
involving not only the eye but also the body, the sense of touch, and even the
hearing of the viewer, who now finds himself impelled to engage in sensory
exploration.
Artur Freitas, critic and historian, in Crossing or the Anthropological Space,
text of the catalog Eliane Prolik Crossing, 2012, MuMA – Curtiba, Brazil
Atravessamento [Crossing] 2,27 x 5,53 x 30,50 m
Oscar Niemeyer Museum - Curitiba 2014
Atravessamento [Crossing] 1,95 x 1,05 x 12,00 m Caixa Cultural - Brasília 2011
Atravessamento [Crossing] 2,27 x 12,03 x 6,13 m
Museu Municipal de Arte - Curitiba 2012