Artworks
(a drop in the universe has universes of its own!) [(uma gota no universo tem universos próprios!)]
sculpture
Date
2019
Technique
Golden stainless steel
Dimensions
210 x 81 x 1 cm
A golden shimmering and narrow text in parenthesis, as a small aside despite its large format, mounted on the wall, in a typographic or computer style alignment. With one word at each line break, the first hangs overhead and the last stands near the exhibition floor. The installation flirts with conceptual art, which traditionally plays at the intersection between object, image, words and semantic field. Within the scope of influence of Joseph Kosuth, who, in the art world, triggered a complex and rich philosophical meditation on the relation between language, image and referent with his - One and Three Chairs
(1965), Carlos Noronha Feio provides his inputs with an artwork that is its own title, or with a title which has become the artwork itself.
What strikes the viewers at first is probably the text's content. Such assertion brings in the ideas of the infinitely large and the infinitely small, transforming itself to some kind of poetic space shuttle taking them on board to explore the confines of self-cosmos or the cosmos made self. Scientifically and mathematically speaking, the phenomenon of the infinite expanding of fractal symmetry, initially connected with the theoretical analysis of the geometric patterns in nature, was studied from the seventeenth century on, and evolved throughout the twentieth century to computer-based modelling systems.
Gold adds another significant layer to it. As a traditional sign of prestige and a vector of luxury, this unalterable and luminous matter is also a long-established symbol of purity, spiritual enlightenment and immortality. Thus, despite the clean, manufactured, metallic, impersonal formal aspect and the graphic nature of the piece, its semantic golden content opens a neverending unfolding process of nested imaginary dimensions, which is visually increased by the mirroring effect with the space and the viewer's reflections in the artwork.
(1965), Carlos Noronha Feio provides his inputs with an artwork that is its own title, or with a title which has become the artwork itself.
What strikes the viewers at first is probably the text's content. Such assertion brings in the ideas of the infinitely large and the infinitely small, transforming itself to some kind of poetic space shuttle taking them on board to explore the confines of self-cosmos or the cosmos made self. Scientifically and mathematically speaking, the phenomenon of the infinite expanding of fractal symmetry, initially connected with the theoretical analysis of the geometric patterns in nature, was studied from the seventeenth century on, and evolved throughout the twentieth century to computer-based modelling systems.
Gold adds another significant layer to it. As a traditional sign of prestige and a vector of luxury, this unalterable and luminous matter is also a long-established symbol of purity, spiritual enlightenment and immortality. Thus, despite the clean, manufactured, metallic, impersonal formal aspect and the graphic nature of the piece, its semantic golden content opens a neverending unfolding process of nested imaginary dimensions, which is visually increased by the mirroring effect with the space and the viewer's reflections in the artwork.