Priscila Fernandes develops her works from an interest into didactics, education and the conveyance of knowledge. Working across a variety of mediums from drawing to sound and video installations, Fernandes focuses on ideologies associated with play, creativity, and productivity as tools for the construction of the individual and society.
In Against the Enamel Fernandes presents an installation incorporating video and sculpture. As in other currents works, Fernandes creates references to Neo-Impressionism and ideological shifts at the turn of the 19th and 20th centuries. The large LED video screen hanging from the ceiling, with its movement and multi-colours generating a veritable maelstrom, creates – in interplay with the rough cast iron sculptures placed on the floor – associations with advancing industrialisation and a changing social structure, the idea of productivity, scientific progress, the masses' longing for entertainment and also for anarchic utopias.
The video and the title of the exhibition refers to a...portrait from 1890 by the painter Paul Signac of French anarchist and art critic Félix Fénéon. Signac was one of the most important artists of Neo-Impressionism, whose defining characteristic was experimentation with systematic brush strokes of a color palette based on optical theories – a technique whereby the whole image emerges not on the canvas but only from a certain distance, in the eye of the beholder. Fernandes fascination for Neo-Impressionism lies not only on it’s visual language but on how such an aesthetic gesture was intended to inspire a revolution.
Entrada actualizada el el 08 dic de 2017
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