Palimpsestos | Palimpsests
Neste projecto, a artista busca no pergaminho raspado vestígios de escritas de outros tempos como forma de perceber as armadilhas de Chronos ou como tentativa de o aprisionar. Aparentemente, este trabalho pode parecer um exercício de estilo, o acaso de conjugações felizes de atmosferas harmónicas. Nada mais falacioso! Cada palimpsesto discute com o observador a localização do momento em que o tempo se anula, aquele em que pela primeira vez o olhar varre a imagem, ou melhor, a constrói. Esse momento talvez não exista ou não possa ser descortinado, cirurgicamente isolado do Passado. Está sempre em fuga e arrasta consigo memórias e fragmentos vindos de outros tempos. A ideia de palimpsesto ou o reconhecimento da impossiblidade de fragmentar o fluxo do tempo histórico – e no entanto não há outra forma de o analisar – constitui um tema central da epistemologia e da metodologia arqueológicas; cada imagem como um solo de habitat (o que nos leva a velhas discussões com François Bordes e Henry de Lumley) desejavelmente fechado no tempo do seu pisoteamento, da sua modelação por uma fogueira acesa que logo se apagou e espalhou cinzas em redor que cobriram os restos da última refeição. Estamos a falar da obsessão por contextos fechados, pelo controlo do momento zero em que o gesto acontece. A fotógrafa não dá respostas, mas escolhe toda uma semiologia arqueológica que conduz o olhar para layers subjacentes à epiderme das coisas, ou para inversões ou ressurgências inesperadas, iludindo a estratigrafia dos acontecimentos, como se o tempo pudesse andar para trás. E não pode?
A opção por cores discretas, quase sempre da gama dos cinzentos cria atmosferas de incerteza, onde, por vezes, inesperadamente, emergem centelhas de belas cores.
In this project, the artist seeks scraped parchment written traces of other times as a way of perceiving the traps of Chronos or as an attempt to imprison it. Apparently, this work may seem an exercise in style, chance of happy harmonic atmospheres conjugations. Nothing more fallacious! Each palimpsest discusses with the observer the moment when time vanishes, when a first glance scans the image. This moment may not exist or cannot be surgically isolated from the Past. It is always on the run and drags memories and fragments coming from other times. The idea of palimpsest or recognition of the impossibility of splitting the flow of historical time - and yet there is no other way to analyse it – it is a central theme of epistemology and archaeological methodology; each image as a sol d’habitat (which leads us to old discussions with François Bordes and Henry de Lumley), desirably closed at the time of their trampling, their modelling by a fire that soon faded and spread ashes around, that covered the remains of the last meal. We’re talking about the obsession of discovering closed contexts, by controlling the zero moment the gesture happens. The photographer does not give answers, but chooses an entire archaeological semiotics that leads the eye to underlying layers of the things surface, or inversions or unexpected resurgences, eluding the stratigraphy of events, as if time could go backwards. And cannot?
The choice of muted colours, almost always in the shades of grey, creates atmospheres of uncertainty, where sometimes suddenly sparks of beautiful colours emerge.
Joaquina Soares
A opção por cores discretas, quase sempre da gama dos cinzentos cria atmosferas de incerteza, onde, por vezes, inesperadamente, emergem centelhas de belas cores.
In this project, the artist seeks scraped parchment written traces of other times as a way of perceiving the traps of Chronos or as an attempt to imprison it. Apparently, this work may seem an exercise in style, chance of happy harmonic atmospheres conjugations. Nothing more fallacious! Each palimpsest discusses with the observer the moment when time vanishes, when a first glance scans the image. This moment may not exist or cannot be surgically isolated from the Past. It is always on the run and drags memories and fragments coming from other times. The idea of palimpsest or recognition of the impossibility of splitting the flow of historical time - and yet there is no other way to analyse it – it is a central theme of epistemology and archaeological methodology; each image as a sol d’habitat (which leads us to old discussions with François Bordes and Henry de Lumley), desirably closed at the time of their trampling, their modelling by a fire that soon faded and spread ashes around, that covered the remains of the last meal. We’re talking about the obsession of discovering closed contexts, by controlling the zero moment the gesture happens. The photographer does not give answers, but chooses an entire archaeological semiotics that leads the eye to underlying layers of the things surface, or inversions or unexpected resurgences, eluding the stratigraphy of events, as if time could go backwards. And cannot?
The choice of muted colours, almost always in the shades of grey, creates atmospheres of uncertainty, where sometimes suddenly sparks of beautiful colours emerge.
Joaquina Soares