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Janinne Wolfsohn

In my work I develop three axes: space, fragmentation and movement; The investigation of my work in terms of technique, shape and materials goes through them. Oscillating from one place to another, transiting both at the same time, the gesture and the digital.

It has a process that goes from the primitive of the form, to the most contemporary that is the dematerialization of the gesture. The choice of material tries to conceptualize the firmness of the figure's gesture.


Ana Efron

There must be nothing at the beginning. No ideas, no words: the beginning must be pure matter, raw substance being simmered. Smear the canvas without a plan, shoot at it randomly and at some point slow down and begin to put it together; see what these ruins offer and then weed, cover, add, rebuild. Enter the canvas on fire, with more eagerness than ideas, and make everything that happens in the search remain there as a testimony. There is no painting plan, painting is the plan. Painting is the way to get to the painting.

Painting is going somewhere else, where the material is more flexible and time passes differently, it is flow feels like a dance, it is inhabited completely. Things of that world are the roughness of the canvas, the character of the line, the intensity of the color, the water that dissolves. And then being a little there and a little here, an amphibian moment in which one works obsessively on that body to bring it to this side, pulling so that it becomes a thing of this world.


Fernanda Rodrigo

My work stems from my relationship with the matter. I don't have a preliminary sketch or a full-formed idea of ​​what I'm going to do.

I trust I will capture those forces, those intensities that appear there, in the matter, in the moment.

Both of us, the matter and I, come with weights.

I am like a collage, or like a bookshelf, full of images, of poetry, of books (anatomy, philosophy), and music.

I am always counting on something that is outside when I’m painting, drawing or sculpting. That something appears, goes across me, and then everything overlaps: something new in which I trust is put together, and the process starts there.

I'm still looking for something.


Laura Kuperman

My work has multiple edges. The language I select depends on the adequacy of the intention to communicate with the image and the staging: The material, the support and the space; one of them prevails over the others. I investigate the need for each proposal. Versatility and openness are necessary in the game of my production. Make, undo, put together, take apart, build and build ideas, proposals, solutions and conflicts in each project. Each one of them is a challenge and a game that I can't stop going through. I don't know.


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