Practicing calligraphy is to discipline the body and thought for action. Studying the controlled movements of western alphabets and the fluidity of the oriental gesture created in my expression the coexistence of tensions. The choice of angles, pressure, and direction instruments is fundamental for the stroke in the first, while the subtlety, trace and unchangeable gesture is the basis for the second.
In my process today, these different ways of occupying space, coinhabit the same context. Interweaving calligraphy, painting and educational practices with other knowledge interests me as a suggestion of narratives to discover. Through the sensitive I imagine a place where convergence is possible. Therefore, the demands of being in the contemporary world strongly activate my practice.
distortions of light
Whenever using the overhead-projector I look forward to finding in its light what is known and yet unknown to me: the image that is distorted, the luminosity that limits the vision, the color that is subtracted. What ambiguity is this that wants to train eye pupils in the dark? This analog medium has been one of the instruments in my research in art. I use this object to approach time in a more dynamic way.
In the case of my overhead-projector, being obsolete when compared to recent technology, means not using filters that would permanently freeze the image as at the moment of its conception. On the contrary, using it is to access a mean that ages, changes vigor and for these reasons, proposes new understanding for each approach. It is a welcoming exercise to perceive what changes around me and which alters my expression. It interests me as a proposition of a malleable present.
What started as awkwardness, became cyclical. And what happened as sparse experiments, ended up finding temporal rhythms in my process. Like a female archeology, ties, garlands, shells, wood sticks excavate memories and create a flow of weaving a world yet to come.
Immeasurable and overflowing this expression seems, I would call it Living Water, if it did not already belong to Clarice Lispector. From this author, I might use the phrase “I am me” to intensify the existence of these ocean of events in my practice. (…) And how to overflow an internal ocean for radical hospitality? Wait for the posthuman? Start over from another planet? Why not build a new grammar to inhabit and accept the demands of our present world: ‘I am you’; let this be the architecture of the new era, of caring.
The process of discovering an architecture physically and immaterially, through its traces and memories (real or manufactured), suggested to me a tactile investigation of a space as the initial guiding thread. How to build sensors to connect, belong, welcome and be welcomed? How to relate to this place?
I decided to collect fossils, build maps and topologies that led me to poetic readings and another research. That investigation and what artistically arouse from this exercise I called the OLISIPO series, the name originally given to the city of Lisbon by the Arabs.
Faced with a work of art that takes me completely, I have the sensibility to observe it carefully. Wanting to decipher it through the memory of the experience that it caused me is one of the few exercises that holds me in repetitions of the transcription of that feeling. I discovered that, in fact, with each resumption of the experience there is a new work being remade before me, in memory and on paper (here, drawings).
The installation of Andreotta Calò was one of those events at the 2017 Venice Biennale.