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Exhibitions - 2008: The Pilgrim Path - Leon - 2007: The Pilgrim Path - 2006: Inf'action - 2005: Paths Revived - 2004: The Four Seasons - 2003: Virtual Exhibit - Signals - 2003: 48th Salon Montrouge, Montrouge / France, November 2003 - 2003/2002: Paths Revived : Época Art Gallery, Goiânia May 2003 / National Museum of Fine Arts, Rio de Janeiro, October 2002 - 2001: Galerie Lafayette - 2001: Parcours, Récoltes - 2000: La Maison Du Temps - 1999: Threading Beads and Stringing Pearls - 1998: The Circle and the Dot, The Dot and the Circle |
The France-Brazil Museum, Rio de Janeiro, 12/9/2004 to 1/23/2005: Paths Revived By Christina Oiticica
Seeking shelter and safety, somewhere we identify with, all this is part of the universe of man’s course through life. And our work ends up reflecting everything which we know and with which we identify. My work is the opposite of man’s course, leaving home, the cave and returning to nature, a pilgrim’s work, who is affected by the manner of being nature itself. We humans deal with space. We can move around, we are free in space. Plants deal with time, and have a far greater existence. Plants are free in time. They are capable interrupting the seed’s germination, which is in fact an interrupted pregnancy, in order to germinate at a favorable time. When I leave my work in the fields, forests and dry riverbeds, it not only captures the physical, spatial element, but also the energetic element. When it is in nature, it begins to identify with it, and to react to this body. The intention in my work is to go beyond the four walls protecting it, to use space and go beyond. Go beyond the four walls and be affected by the conditions of time, by circumstances, as Ortega y Gasset put it. In the circle of one year, where nature works together with me. A partnership
with the Immaculate Conception, earth. Which helps to work the body present there.
In the same way that an artist’s work emerges from his or her depths, Cristina Oiticica’s work, or at least part of it, returns to the earth and is then retrieved from it after a period of telluric gestation. Nature is thus a partner of Cristina’s, and each work in some way acquires a fingerprint of nature itself. A powerful partnership, this established between artist and nature. The results are surprising. It is as if the arbitrary hand of the elements completed the artist’s original intention, lending the work a special density and uniqueness. On disinterring her works, Cristina Oiticica must be surprised herself at what the invisible hand of nature has done to her original designs. The final result of this extraordinary partnership is an art that is literally inimitable because in each case the will of water and wind and the mysteries of stone and earth interact in a unique way on the created matter. The very viscera of this old house of ours has served as a bed for one of the works that will be exhibited here. When it emerges, it will bear the mark of old sediments of the city of Rio de Janeiro, sediments in which it has been soaked and from which it will rise. I have yet to see
it resuscitated. Recognizing it will be another surprise promised by Cristina’s
art that moves heaven and the earth and leaves no stone unturned to enchant us.
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See Also
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My
work is affected, inevitably, by having been in close contact with nature for
a year and a half, living the four seasons intensely. They ended up influencing
my work. Normally things don’t occur on a conscious level, only on an unconscious
one.
Cristina
Oiticica’s work, on show at the France-Brazil Museum, was strictly speaking
removed from the entrails rather than created.
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