ABRE ALAS #18
Ariel Ferreira, série Antipostais de Minas Gerais, 2022
fotografia, ponta seca e ponta seca de prata
[photography, dry point and silver dry point]
[photography, dry point and silver dry point]
dimensões variáveis
[variable dimensions]
[variable dimensions]
Nesta série, fotografias aéreas de minas e suas catástrofes são apropriadas da internet. As impressões, em sais de prata, são parcialmente riscadas e raspadas nas áreas das imagens que representavam...
Nesta série, fotografias aéreas de minas e suas catástrofes são apropriadas da internet. As impressões, em sais de prata, são parcialmente riscadas e raspadas nas áreas das imagens que representavam montanhas com vegetação, revelando e salientando as formas aparentemente abstratas da terra devastada. Ao riscar o papel fotográfico, o artista, como os mineiros ou garimpeiros, extrai sua obra por escavação, arrancando material. A série possui a ambiguidade de ser a estetização do horror e a perda de suas dimensões, e, ao mesmo tempo, um protesto contra a mineração em larga escala. Frequentemente os Antipostais de Minas Gerais trazem mensagens escritas com ponta seca de prata sobre base de guache branco.
In this series, aerial photographs of mines and their catastrophes are appropriated from the internet. Silver salt impressions are partially scratched in the areas of the images in which mountains used to be vegetated, revealing and highlighting the apparently abstract forms of the devastated land. By scratching the photographic paper, the artist, like miners or prospectors, extracts his work by excavation, extracting material. The series has the ambiguity of being the aestheticization of horror and the loss of its dimensions, and, at the same time, a protest against large-scale mining. Antipostais de Minas Gerais often contain messages written with a silver dry point on a white gouache base.
In this series, aerial photographs of mines and their catastrophes are appropriated from the internet. Silver salt impressions are partially scratched in the areas of the images in which mountains used to be vegetated, revealing and highlighting the apparently abstract forms of the devastated land. By scratching the photographic paper, the artist, like miners or prospectors, extracts his work by excavation, extracting material. The series has the ambiguity of being the aestheticization of horror and the loss of its dimensions, and, at the same time, a protest against large-scale mining. Antipostais de Minas Gerais often contain messages written with a silver dry point on a white gouache base.