DEFÓRMICA
Defórmica, formica and aluminum, 2008-15
Defórmica 21, 2009, 122 x 161 cm
Defórmica 35, 2010, 120 x 135 cm - private collection
Defórmica 41, 2011, 130 x 106 cm - private collection
Defórmica 62, 2011, 194 x 187 cm - private collection
In the making of work of art,
there are moments in which all of its efforts –the entirety of the heterogeneous
sum of its past– seem to resolve themselves fluidly, calmly, and assuredly in a
single blow. In Eliane Prolik’s work, Defórmicarepresents one of those moments in which its multiple references, its
wanderings, openings and stalemates enter into a sudden and irrepressible
accord. Almost by free and spontaneous will, as if dispensing with the artist’s
judgment. And precisely to confirm a poetic destiny, the validity of her
experiments. Quickly and well-aimed, Defórmicagoes straight to the point which, in this case, means a continually zigzagging
evolution.
In the making of work of art, there are moments in which all of its efforts –the entirety of the heterogeneous sum of its past– seem to resolve themselves fluidly, calmly, and assuredly in a single blow. In Eliane Prolik’s work, Defórmicarepresents one of those moments in which its multiple references, its wanderings, openings and stalemates enter into a sudden and irrepressible accord. Almost by free and spontaneous will, as if dispensing with the artist’s judgment. And precisely to confirm a poetic destiny, the validity of her experiments. Quickly and well-aimed, Defórmicagoes straight to the point which, in this case, means a continually zigzagging evolution.
Ronaldo Brito, critic and curator, in Direct Zig Zag,
text of the book Eliane Prolik, 2011 – Curitiba, Brazil
Defórmica 41, 2011, 130 x 106 cm - private collection
Defórmica 20, 2009, 102 x 115 cm – private collection