Luisa Brandelli
O terno do boto cor-de-rosa, 2022
linho, lã, linha de costura, ilhós
[linen, wool, sewing thread, eyelets]
[linen, wool, sewing thread, eyelets]
200 x 100 cm
[78 3/4 x 39 3/8 in]
[78 3/4 x 39 3/8 in]
Copyright O Artista
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Neste trabalho, Brandelli corta quadrados de tecido com os quais constrói uma montagem no chão e, por fim, os une pelas pontas com a costura à mão. Levantar a obra...
Neste trabalho, Brandelli corta quadrados de tecido com os quais constrói uma montagem no chão e, por fim, os une pelas pontas com a costura à mão. Levantar a obra é uma surpresa que revela uma estrutura mole e geométrica. “O terno do boto-cor-de-rosa” utiliza lã batida, lã fria (usada para ternos e casacos de inverno) e linho. O título é uma evocação. No mito, o animal se transforma em um homem que seduz as mulheres. A maioria das ilustrações populares apresenta o boto vestindo um terno nessa fase de transformação. O trabalho de Luisa Brandelli nunca é uma representação objetiva e direta do objeto ou da narrativa, mas uma sugestão.
In this work, Brandelli cuts squares of fabric with which she builds a montage on the floor and, finally, joins them together at the ends with hand sewing. Lifting the work is a surprise that reveals a soft and geometric structure. “O terno do boto cor-de-rosa” uses beaten wool, cold wool (used for winter suits and coats) and linen. The title is an evocation. In the myth, the animal transforms into a man who seduces women. Most popular illustrations feature the boto wearing a suit at this stage of transformation. Luisa Brandelli's work is never an objective and direct representation of the object or the narrative, but a suggestion.
In this work, Brandelli cuts squares of fabric with which she builds a montage on the floor and, finally, joins them together at the ends with hand sewing. Lifting the work is a surprise that reveals a soft and geometric structure. “O terno do boto cor-de-rosa” uses beaten wool, cold wool (used for winter suits and coats) and linen. The title is an evocation. In the myth, the animal transforms into a man who seduces women. Most popular illustrations feature the boto wearing a suit at this stage of transformation. Luisa Brandelli's work is never an objective and direct representation of the object or the narrative, but a suggestion.