Anaisa Franco | Heart Dialogue



18 February - 25 March 2016

THE INTERSUBJECTIVE DIALOGUES IN ANAÍSA FRANCO
Curated by Daniela Bousso

Anaísa Franco remained transiting in various continents such as Europe, Asia, and Australia after completing her Master’s degree in London between 2007 and 2015. During these years, she developed a series of researches that involve the body in art - both the body as a subject in the work and the viewer’s body in contact with it- besides introducing psychology components and cognitive science in her production.
To contextualize her work, we can insert it in the line of research on the audience participation in art and performance, dating back to Surrealism, and which unfold in full force into the artistic vanguards succeeding the second post-war period reaching the present times.
The artist operates from an intersubjective and transversal perspective, which sets up one of the many aspects of contemporary art. The work is presented in several layers. The first one of them is designing, as a major configurator of her artistic practice spirit. From traces, drafts or storyboards, Anaísa brings together the traditional fine arts with the investigation of interfaces and digital media to build a dreamlike world.
She designs and conceives first, to then reach the production phase, which involves several electronics techniques, digital modeling, photography, and video. The practical research implies a constant process of experimentation with new materials and digital fabrication to get to an emotional situation, says Anaísa, in which people can expand their senses through the interaction with objects.
She proceeds... "in these dynamic interactions my research is based on theoretical and practical levels of perceptual simulation and stimulation. As a contemporary artist I do not cling to only one type of medium."
These passages and negotiations - between drawing, photography, animations, video, interactive installations and between sculptures or objects, which constantly trigger the viewer's eye and body - is what characterizes her as a multimedia artist. These are procedures that result in a multifaceted artwork, in which drawing stars in short films, and passages being constructed through the sensory and sensitive evocativeness.
The name of this exhibition comes from one of her works: “Heart Dialogue” - which interconnects all the other displayed - is a light-sensitive object, which pulsates and expands the heartbeat of the observer by utilizing a sensor.
After downloading a 3D heart, copied from the Internet, the artist modified it to give it its current shape; she laser cut MDF wood sheets and assembled the piece's technology with an electroluminescent wire, or “EL wire.”
When a finger is placed on the work, the heart beats according to the heartbeat of the public and the light turns on. “Our heart beats 24 hours a day and it is what keeps us alive. The piece is a way to materialize the indispensable pulsation of life”, says Anaísa.
From it the three drawings presented on fabric and the three lungs emerge, all illuminated with lighted hearts.
Another series of 20 drawings on photographs in the snow is shown. From the collection of dreams of twenty people, the artist drew the snow on these pictures. Although autonomous, these drawings are studies; a plan for the animation, embodied in “Onirical Fluctuations,” a video-installation carried out via the interviews collection - living mediation of access to the unconscious and to the expression of the respondents’ dreams done by the artist - that prioritizes the creation of dreamlike spaces. Two more animations come with this work, expanding its senses from the notion of set.
The interactive installation “Expanded Eye” broadens the viewer’s vision from an eye recognition software and an infrared camera that identifies his/her eye. The observer has its vision expanded, since this person’s eye is multiplied several times.
This piece involved research and studies on vision, having the artist sought her inspiration in the Compound Eye Insect; this compound eye allows insects to see at a 360-degree radius; they have a more elaborate and complete vision than us humans, and are able to see from several sides at once.
“Floating Land” was produced in 2010 while the artist was in Taiwan, when she witnessed a series of small earthquakes. It is an animation in four interconnected small boxes, translating the experience of being in floating lands. Water, one of the elements present in this work, interprets Anaísa’s own dreams, which refers to modes of transportation such as the train and the plane, and ways of being in the world, to the Earth experience itself.
The sensitive relationship between machinic and human, organic and artificial arises from the mediation via interface – which links physical to digital in the piece - and this induces on the user a lot of emotions that amplify the senses and sixth-senses, in the artist’s words.
All these actions result from Anaísa's view, which implies that the moment of enjoyment is raised. The idea is to create feelings that human beings cannot, a priori, glimpse with the body, and there the interfaces are the creations that establish the starting point for intersubjective dialogues.
With this modus operandi, Anaísa recreates the world today: she joins the parts of the bodies, summons the observer’s body, and shares sensations, feelings and dreams that, ultimately, celebrate life and its mysteries through a universe filled with new cinemas, which permeate the contemporary visual arts in small narratives. In which one are you located?



Anaísa Franco - Heart Dialogue catalog

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