Through paintings, sculptures, installations, works on various supports, the artist Gabriella Garcia reflects on relationships that show the play of opposing pairs: the solid and the ethereal, the volume and the two-dimensional plane, the condensed and the volatile, the past and the present. An unprecedented synthesis of this research will be presented in its first solo show at Galeria Lume.

In the first space of the exhibition, the representation of drapery – movement of the fabrics and their folds – in the gaps between the paintings and sculptures create abstractions and new perspectives. In the second, located in Lume’s central room, everything connects and each work exists through the other, in a room whose walls are painted with mineral pigment. The relationship with the representation and its surroundings remains, and the artist materializes the painting and paints the material through various supports such as minerals, reproductions of classical images in plaster, canvases, silks and marble.

The artist brings to the public 29 works, paintings, installations and sculptures, loaded with symbols from the history of classical art, and in which she shares her questions and reflections on the hegemonic thinking that hovered in previous centuries. At the beginning of his career, his artistic process brought the use of collage as a driving force and today it carries its influences, as well as the scenic arts. Not by chance, the exhibition is organized in two acts and, open to multiple readings, has different and complementary perspectives in critical texts signed by four curators: Carollina Lauriano, Guilherme Teixeira, Ode and Paulo Kassab Jr.

“Through the plaster and marble link, studies on the balance of stones and objects and painting, profane materials and others with a decent biorepresentative; as well as mimicry and the process of making motion static, Garcia aims to demonstrate how the denial use of taxonomic models such as archetypes, catalogs, lists and indices, simultaneously with liquid properties such as astronomy, astrology, dreams and memory, can be realized in a way rhythmic and yet ironic”, reflects the independent writer and curator Ode in her text.

Gabriella Garcia elaborates a set of paintings and sculptures that deal, at first, with the idea of gestures and the making of the art object. For Carollina Lauriano, researcher and independent curator, the artist uses what is most academic and classic in art – whether in materiality or support – to justify an official story that has already been given.

“When we observe the theatricality employed in his works, we begin to realize that every gesture there may be being staged, and that the layers can hide nuances that the eyes cannot see. As in the Renaissance ideal, the artist creates objects that keep ‘regrets’ in them”, says Lauriano.

Idea complemented in an excerpt of the text signed by curator Guilherme Teixeira:
“There is a place here where the image allows itself to fail, and it is because of its insufficiency in relation to the species’ will that something leaks out”.

From her work, Gabriella Garcia proclaims that there is no single narrative, but that the history of art must be constantly re-signified.

“Open to multiple reinterpretations, the exhibition allows us to release the critical spirit in the light of imagination and awaken to a reading of a multiform world”, concludes Paulo Kassab Jr.