Starting this Saturday (20/5), at Funarte SP Cultural Complex, the plastic artist Sandra Lapage presents beyond the mantle, an exhibition that brings together more than 20 works, including sculptural plots, wearable pieces, photo-performances and video-performances, produced between 2019 and 2023, from recycled materials, such as coffee capsules, for example. According to Sandra, the show is not a critique of the consumer society, but an “observation”. “I am also not able to offer solutions, nor to cut all my excesses. But I think that looking at our own excesses can point out ways, suggest changes in consumption habits, which, after all, are urgent”, says the artist to arte!brasileiros.
Sandra says that, in conversation with Carollina Lauriano, the plastic artist defined her creations as “challenging” and that she tends to agree. “Mainly due to the primary beauty of the material, its colors, its shine, its surprising malleability and lightness, all characteristics that make these mass-produced elements, a feat of industrial design, an object of irresistible desire”, she says. There is also an aesthetic appeal, which, according to her, “appears in the color groupings, in the creation of a rhythm-weave, which organizes instead of delivering a chaotic set that is difficult to understand”.
The artist also points out that she does not establish a hierarchy of objects that will compose her works based on the origin of each one. Pet plastic, says Sandra, coexists with the champagne label, without discrimination. “I'm interested in everyday objects, in the simple and anodyne, and their possibilities of reinvention in assemblage”, explains the artist, who also brings great fashion inspiration to her creations.
“It seems more and more like a field in which the boundaries between art, design, handicraft, engineering are being blurred.
For the creation of her works, the artist says that she avoids a long time of preparation or reflection, preferring that “the flow of thought” accompanies the sewing of the structures. The result would be “accidents, unexpected paths”.
“I avoid tests, or projects, that would distance me from the first intention of operating outside the concerns of the ego”, he says, citing as an example the works amphisbaena e Bahamut. “The materialization of these forms came almost as a fright, in Amphisbaena two delicate lung-wings that dematerialize in the air; in Bahamut, blue curves of the woven material itself that came out of the wall and pushed me into three-dimensionality, completely out of my control”.
In exhibitions like beyond the mantle, Sandra claims that her art is a shamanic practice. “For some years I have been thinking about practice as a way to relinquish control in the passage between conception, encounter with materiality, and execution. And this makes me grow inside and outside the artistic practice, because I understand this process as a constant exercise of understanding the world around me, of doubt, of observation, of
try to understand the world and others”, he explains.
Part of that experience is the collaboration, in this show, with Bruno Gold, who conceived a sound installation “that plays with notions of gravity and lightness, incompleteness and imperfection, chance and mystery”, according to a press release. She suggests, for example, “the sound that a certain material could make if it was dragged in the
ground for a long time, or trembling with its parts scratching each other”, says Cadu Riccioppo, who signs the critical text of beyond the mantle. In an interview with arte!brasileiros, Cadu observes that Sandra's works depart from a series of premises that the avant-garde, modern and contemporary art leave open.
“The appropriation of 'already-made' objects; construction with materials collected from industry,
consumption and disposal; the assembly; the realization that the objects that accumulate around us have an artistic value that is contributed to them via the amount of use of aesthetic reasoning from design and advertising to the smallest products and their packaging, and that remain there when the consumption cycle of these objects ends and they start to accumulate as urban culture debris”, he says.
Asked whether the title of the exhibition would allude to the Presentation Cloak, an old blanket transformed by Arthur Bishop do Rosario in embroidered clothing with a majestic appearance, Riccioppo states that it is not necessarily a reference only to that work, but “to a whole tradition of understanding large-scale images as a type of work that brings out the immantation of a ritualistic element” .
In addition to the cloak, by Sandra Lapage
Cultural Complex Funarte SP – Alameda Nothmann, 1058 – CCampos Elíseos – São Paulo (SP)
Visitation: Tuesday to Sunday, from 14 pm to 19 pm, including holidays