MANOELA MEDEIROS: SOWING THE SEEDS OF THE INEXPRESSIBLE
This idea of not being able to define or categorize work enchants me. Always between two places, and also in no place.
Manoela Medeiros in an interview to Arte Aldia
Manoela Medeiros in an interview to Arte Aldia
Manoela Medeiros crosses the boundaries of artistic media, blurring the lines between painting, sculpture, performance, and installation, building a tricky relationship between space and time, the physical presence of the artwork and the person looking at it.
Defying easy definitions or categorizations, her creations challenge viewers to reconsider the essence of what they are observing. Is a painting merely a flat canvas, or a three-dimensional sculpture? Does an installation simply occupy space, or does it transform it? Medeiros thrives in this ambiguity, finding beauty in the transient and the undefined.
Medeiros is driven by a fascination with the 'non-place' – a concept she explores throughout her work – neither fully man-made nor entirely natural; existing somewhere in between, in a state of perpetual evolution.
It's a constant game between artwork, subject and space, and a work starts to perform a kind of mimicry, but not a mimicry that only looks to resemble its surroundings, but to dissolve in it, in a way that you can no longer identify: where does the work start and where does the space end. The two of them become similar and inseparable.
Manoela Medeiros
By excavating the concrete and walls of exhibition spaces, she invites her viewers to witness the transformation of space and material into something that transcends its original form, an environment where the distinction between artwork and space dissolves, allowing them to intertwine and enhance each other's presence, turning time, space, color, material and texture into something deeply experiential.
The paintings were exhibited at the Niru Ratnam gallery.
