Rosangela Dorazio | O Que Sobra
de 26/09 até 23/10
Son of man, 
You cannot say, or guess, for you know only 
A heap of broken images, where the sun beats,
T. S. Eliot

Rosangela Dorazio has an extensive experience with engraving. She domains the art of subtracting matter to create the array, depurate the image, producing its double. However, unlike many artists who have gone down this traditional field, she doesn’t have an attachment to purist technique, holds no romanticism in relation to craft arts often associated to the guardians of the intricate procedures of the various ways to engrave.

She does that not from ignorance or disdain, but because her research leads her to put right in the Center of the production the difficult place of art making and of image in the times we live in. Knows that to claim a model of an ideal making for art, a model for the other human actions, nowadays, is as problematic as believing in the image’s capability to communicate directly. These are troubled times, in which human action is no longer able to generate exemplarity and the medium is no longer the message.

Dorazio confronts language from a contemporary point of view. She’s aware that images are hybrid, beams of meaning many times contradictory and conflicting. At times remnants, at others still poluted by collective and individual references, they are residues from other images, pre-images and post-images in a world that leaves no clear set, that resists, with profound melancholy, to formalization, unable to escape from the objectification process that turns it into fetish.

The works that th artist gathers for this exhibition come from photography, light printed over a surface. Once again, it is not the photographic technique that matters to Dorazio. The photography does not appear in its’ rich gradations of light and shadow, in the quality of focus or composition, but by certain general properties of the image produced by this language means. In common sense, photographs can be seen as records, in which the medium is almost unnoticed. For that reason, the artist begins by trivial landscape photos, barely generic, that keep – in the scenes captured, in the lenses’ angulations, in the framework, in luminosity – something from the inocuous character of postal images or calendar sheets. These are images made up to deviate the eye to imaginary places, images of the expectation, of fugue, of dream. In them, you don’t look at what’s really being seen. It is data referred to the unseen, to the desired, to the absent.

The interventions by the artist over the photographic prints explicits the conflict between perception and imagination, between factual experience and idealised projection. They take away from the landscapes that one thing that could characterise them, indicating precisely the voids in these places of the unrealized desire.    

By intervening over the photographic support, Dorazio does not seek to restore contact with particular images, but to retain what there is of general in them, not generic. What doens’t change, what stays, what is Constant. The ground, rhe Sky, the horizon line. Erasing by interventions, destroying the apparent inocuous view from which she starts, the artist wears out the pre-formed image in search of some kind of ground-zero of perception

Her gesture can be smooth. At times, she prints with engraving tools patient grooves, creating abstract arabesques that flows over the surface’s limits where once were figurative forms. But can also be energetic, almost violent, scratching the paper, scoring and shredding that support, attacking the fixed forms, in an almost iconoclastic gesture.

To restore the right to see the emptiness, of facing ourselves with the limit of form and meaning absence, that seems to be the objective of the weird and unsettling engravings by Rosangela Dorazio. They force us to face the wasted land in which we find ourselves, everyone.

Fernanda Pitta
September / 2013