april, 2022

202201apr12:00 am30(apr 30)11:59 pmThe Contemporary Art Modern Project | 04/01/22 - 04/30/22 | Dreamscapes | Clara Fialho | Miami North

Time

1 (Friday) 12:00 am - 30 (Saturday) 11:59 pm

Location

The Contemporary Art Modern Project

791 NE 125th St North Miami Beach FL 33161

Organizer

The Contemporary Art Modern Project 791 NE 125th St North Miami Beach FL 33161

Event Details

Art Exhibition | 04/01/22 – 04/30/22
Dreamscapes | Clara Fialho
Miami North

The Contemporary Art Modern Project
791 NE 125th St North Miami Beach FL 33161

Dreamscapes embraces the undefined coalescing into a brilliant sensorial emancipation an embodiment of the very essence of abstract art wherein the works ultimately function as vessels for whatever one may need: reflection understanding or transformation.

Clara Fialho’s artistic sensibilities are interpreted as an intimate liminal study of emotion removed from the constructs of time and space in The Contemporary Art Modern Project’s April exhibition Dreamscapes. The result is an expert layering of personal experiences color and technique a collection of contemplative scenes whose energies and meanings are left up to interpretation. Her approach to abstract work is grounded in an intentionality that finds its footing in an intertwining of psychology surrealism universal symbols and her previous portraiture practice allowing her to appropriate both the reflexive qualities of instinct with the objective spirit of realism into a reframing of existential sentiments. Dreamscapesexplores Fialho’s adaptive realms unconfined by time and spacebringing witnesses to unnamed yet defined points of respite and occupying spaces between the dichotomies of disorder and form; individual and collective; discipline and fluidity; tension and repose; texture and color; dimension and ephemerality.

Fialho takes advantage of the space she allots herself allowing her compositions to transcend firm interpretations into completely liminal territories. Ethnographers Arnold Van Gennep’s and Victor Turner’s work on the concept of liminality has given society a name for the viscerally ambiguous checkpoints of a life lived though it is Turner’s description of liminal experiences in The Ritual Process: Structure and Anti-Structure (1969) as “betwixt and between the positions assigned and arrayed by law custom convention and ceremonial” that run concurrent to Fialho’s endeavor. This is best exemplified by Fialho’s deliberate toying with illusions or remnants even of negative space through a recurring use of orb-like forms no matter if they’ve been colored in to totality overlapped with thick coats of paint or left empty to bring forth the raw material underneath and mirroring the weight or power that we allow any one thing. Dreamscapesfeatures the debut of It Was Good to Be Loved a ten-year project that can be approached as an archive of the growing pains that accompany our existences be they emotional spiritual or physical. Fialho’s color palette further runs parallel to interrogations of emotion a study of emotional potential in both delicate and deep almost severe hues often on the same piece. This duality or multiplicity is present throughout her body of work—elegant watercolor pieces are exercises in spontaneity and exist neatly alongside large-scale oil paintings which are carefully planned ahead in her collection of sketchbooks all living catalogues of Fialho’s conceptual instincts.

Dreamscapes embraces the undefined coalescing into a brilliant sensorial emancipation an embodiment of the very essence of abstract art wherein the works ultimately function as vessels for whatever one may need: reflection understanding or transformation. Nonetheless Dreamscapes and by extension this statement whether it is seen from afar or through a magnifying lens is offered to the viewer as an invitation to stand right here and experience.

Statement by Maria Gabriela Di Giammarco

X