I explore the insecurities that arise in a viewer’s observation of abstraction due to seeking the identification of figurative or representational presence within an image.The observer looks to understand the what before they understand the why, to recognize form in order to recognize significance. The search for objective form ruins the importance of metaphysical beauty.
This project is based on the ideas introduced by Jean Baudrillard in Simulacra and Simulation. He posits the entirety of social system as simulation, implying a fundamental incredulousness towards any experienced event.
Cognitive Failure is a synthetic resurrection of the models, a compilation of images depicting environs mutated into abstraction as a memory of something existent. It employs aesthetic phantasm to convey contexts of physical environment that stretch reality. In this way, it parallels the second phase of imagery named by Baudrillard (It masks and denatures a profound reality). It cultivates a provocation of an observer’s inclination to grasp for objectivity, identification, classification or empirical truth in a work of art.
ENERGIES AND INTERNAL ESSENCE
Clara doesn’t want to talk about what she doesn’t know, but about the things that surround her, even if they don’t seem enough important nor relevant. For her they are. The necessity of expressing herself and sharing feelings and emotions was her very first motivation to start portrating other people and then herself, if there is a difference between one and the other. Is there? She can’t say… She believes people are somehow related, linked randomely with eachother and guided by an energy that can’t be seen but felt. Floating around like stars in the sky they get in contact with eachother at some point and then later they end up floating somewhere else. Like constellations that unify planets and stars lining them due to their position in time and space, Clara traces the lines between fragmented elements from the subjects or the objects she decides to portrait. Her work,honest and pure, mixes some sweetness and darkness in the b&w images that she carefully developes from her shots.
text by: GABRIELA ACHA
It is the reflection of a profound reality;
It masks and denatures a profound reality;
It masks the absence of a profound reality;
It has no relation to any reality whatsoever;
It is its own pure simulacrum. (*)
Clara’s images are no longer a representation of what she sees, but a staging of different realities, shaped with a scissor and turned into a simulacrum: a game of figures that doesn’t aim to loyally depict what is seen, but to become a symbol in order to maintain faith in the photographic medium. At times, crisis becomes a helpful tool to question, explore or escape, and therefore to reach a different level, whereas nature is a sacred material for human expression through the language of art. The influence of nature on human bodies and emotions is something Clara believes in; thus, she uses this prime matter to reflect some of her emotional states, outlining it in the same the way nature can outline a person’s existence.
The journey Clara made to Japan and Taiwan was of course crucial as a personal experience, as new realities that she often didn’t even understand were discovered; meanwhile, she tried to stay afloat as best she could. Communication was dominated by intuition, and excursions to the mall alternated with excursions to the forest or the beach.
“80 Elements” is a serial mise-en-scène of several fractions of nature that surrounded Clara during her excursions to the Asian forests and beaches. The images taken by her could be depicting any place: Japan, Spain, or outer space. They were transformed into texturized silhouettes and abstractions, and what they depict, instead, is Clara’s superimposed and uncanny realities and a personal search that has just begun.
(*) Jean Baudrillard, Simulacra and simulation
text by: GABRIELA ACHA
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