a change of state, a season, a belonging, falling in love
She was a long-distance owner, your father fell in love. And he was so upset, he lost so much of us, he walked away from all life, he closed himself off, he devoured himself, he cried on the meat dish, he drank, he fought, he beat me, he left me with your cradle, he went to the owner from a distance, but the owner didn't call.
a fall, an accident, a descent, getting hurt
I left thinking about death, but death did not arrive. I walked the five streets, I crossed the bridge, I crossed the river, I visited your relatives, I did not eat, did not speak, I had a third fever, but death did not arrive.
an oversight, a mistake, a failure, to fall apart
I threw myself at your plants, I did all sorts of dengo, on the floor I brushed my face, I pulled myself by the hair, I cut myself in the stream, I cut myself in the sink, I drank gall and gasoline, I prayed two hundred novenas, mistress, nothing was worth: your husband disappeared.
DEVOTA , 2010 - 2011
"On some visits to Mirla Fernandes's studio, I could see on the table a mountain of laser-cut fabrics. The colors and the" dry "texture of the fabric referred to a floor of fallen leaves in an autumn landscape. The indiscriminate use of technique in the most diverse materials (wood, plastic, fabric, paper) permeates the design world with results ranging from excellent to mediocre.
On another occasion, a series of small pieces of white porcelain occupied the tables. Oval plaques, miniatures of jars and vases received interference from drawings and words in gold ink. Images of flowers and a Drummond poem were inspiration.
"Our mother, what is that dress, on that nail? My daughters, it is the dress of an owner who passed by."
And then she started to put everything together: cutouts, porcelain, Drumond, in a patient task of sewing and embroidery. Threads and needles building a narrative about the cyclical female territory where closing is the starting point for opening.
The care present in the insertion of drawings made of lines, the precise choice of colors and the richness of details invite the viewer to a detailed contemplation, which alters the relationship with the speed of the contemporary. The laser fades and gives in to the power of sewing and the slow time of manufacture. The message is revealed in a dialogue of opposites: the hard and fragile porcelain, the soft fabrics and threads that unite and support.
The poem about love and pain materializes in a patient construction of fragments and containers. The idea of decay and bankruptcy caused by the colors and appearance of dry leaves of the fabric contrasts with the smoothness of the white porcelain surface, announcing a kind of renovation. Its white cleaning refers to the female domain. Its format evokes filling and reveals its connection with the images of loved ones printed as a way of identifying the tombs in the old Latin cemeteries. Porcelain frames and supports the love materialized in the image of departed beings. Farewell and memory go back to the transformations of autumn. Fall and rebirth, a rosary, a promise.
When jewelry meets photography, new images are created and complemented. BA's essay expands the meanings by configuring new poetic treasures. Forms that can open and grow in multiple directions start to group, contract and contain in the encounter with the body.
The body that is seen is paradoxically the presence of the human and the superhuman. Whoever is there is now a nymph, now she is holy, now she is nature. Without a face, he remains anonymous. It is anyone who carries the contradictions and ambiguities related to the female universe. It also reveals / so well the dualities present all of us.
Devota promotes the encounter of two contemporary forms of expression: photography and art-jewelry.
Born at the end of the sec. XIX as a hobby for the rich and initiated, photography quickly took a path towards the democratization of image production, culminating in the current massification promoted by the possibility of its association with cell phones. On the other hand, at the beginning of the sec. XX, the great interest of artists in this form of expression started their entry in the field of arts. In Europe and the USA, the approach of photography with movements such as Cubism, Neoplasticism, Futurism, Dadaism and Surrealism resulted in profound transformations in artistic thought. Its current presence in spaces dedicated to art - museums and galleries - places it decisively as a legitimate form of artistic expression in recent history.
The jewels "are as old as man" (BLACK). As an ancient practice, jewelry followed the most diverse transformations of society, revealing human relations with the idea of ornamentation, social distinction and material power, becoming an object of expression of luxury. Supporting the concept of superfluous, this nickname does not live up to its most important role: vehicle of expression of the subject and his time.
And it is in the post-war period, along with the greatest socio-cultural transformations in the western world, that art-jewelry emerges, a form of artistic expression that has the body as a support for a reflection on the values of beauty, power and personal expression in contemporaneity. In this sense, it is a jewel that breaks with the obligations of material preciousness and adornment, opening up possibilities for the expression of other forms of desire.
When creating his pieces, the jeweler is always working from the perspective of the existence of the other, the one who will carry his creation. In this collection, jewels and photos are simultaneously empowered in favor of the configuration of a new poetic narrative, where the relations between object and subject are put into action. "
text by Ana Paula de Campos
photographs of Mirla Fernandes and Bianca Viani