Carolina Gracindo

Este trabalho referencia-se no processo de construção da identidade da mulher e é constituído na inteligência emocional a se estabelecer entre composição e observador. Uma reflexão sobre anseios e frustrações transcodificadas em imagens que dialogam com a materialidade dos suportes nas quais são integradas. Observa-se a construção de uma atmosfera existencial e íntima, movida pela relação entre suporte, materiais, imagens e corpo.
São duas composições denominadas CAIR I e CAIR II, com imagens e matérias inter-relacionados entre si. Elas foram feitas sobre um mesmo suporte vertical a ser pendurado- uma composição em cada face da superfície. O díptico "QUEDA" aborda um estado psicológico desperto e revelador das vontades e sentimentos existentes, de alguma maneira, na solidão de cada mulher.

The reference reflection of this artwork is the woman identity building process. And its groundwork is inside the emergence of an emotional intelligence between the composition and the observer. A reflection about desires and frustrations that were transcodificated by images that dialogue with the materiality in which they are integrated. It's possible to note the construction of an inside and existential atmosphere, moved by the relation of the structure, materials, images and the body. This work is made by two compositions, called "CAIR I" (To Fall I) and "CAIR II" (To Fall II), with images and materials interrelated. Both of them done over the same holder vertical - one on each side of the surface. The diptych "To Fall" talk about a psychological way of been wake up and it reveals wishes and feelings existing, some way, in the solitude of every woman.

" In the end everything puts me in jeopardy, I remain suspended, stripped, in a definitive solitude: faced with the impenetrable simplicity of what is; and, the ground of the world rent, what I see and what I know no longer has any meaning, any limits, and I shall only stop when I have gone as far as I can".

(BATAILLE, Georges. In. Eroticism Death and Sensuality. Part Three: Nudity. 1957)