Truncado, Sep 17 –
Nov 17, 2015
The Galeria Pedro Cera is pleased to announce its first solo exhibition with the artist Carlos Correia.
The work produced by Carlos Correia (Lisbon, 1975) is usually in the form of painting, drawing, Artist's Books and occasionally videos.
In this exhibition he remains faithful to his use of previously existing photographs taken from several different sources as a starting point for making his paintings. In this new series of works, with the exception of those that are deliberately carried out to be close to drawing, “Lucy in the Sky” I, II and III, the final result of the other eleven is closer to the source at their origin than usually is the case in his previous series.
Mundane events, insides of museums depicting classic works of painting, natural phenomena and current news have now given way to truncated images of bodies and chairs.
Quoting the artist: “A body is a body; a chair is a chair. But a body with determined shapes can be more than a body, just as a chair with shape A rather than shape Aa becomes something more than an object that is designed, built, sold, bought and used for us to sit on. It is precisely that “something more” that brings these bodies close to these chairs. Despite their absolute precision, that measure of approximation ends up being exactly what flees from the measurable.
Indeed, it is precisely that capacity for fleeing that grants it that "something more", and which catapults it into that which Bataille terms unproductive expenditure. Within this we may find the lust, the games and the sexual activity that does not contemplate procreation, art. All the elements in this more extensive group share the characteristic of not being of any use other than intensely and lustfully consuming the excess of energy that man unavoidably accumulates. Thus, these bodies and these chairs are no more than manifestations of the desire generated by the amassing of the excess of energy that inflames man, carrying him into those territories.
Perhaps the chairs or sofas represented might not be those that we most immediately associate to the idea of lust, but, but any one of these works is unquestionably an object of desire; and desire uses several different disguises.
Although the connections and possible clues for reading proposed above are clearly present, the truth is that all of these images are intrusively truncated. The act of truncating here calls attention to the fact that something decisively important prevails over the passiveness of the above-stated decodings. It is not only a matter of images on this or on that, but rather of painted images.
What is presented in Truncated are paintings. Everything else, including this text, gravitates in the orbit of excess.”