Primeiro estava o mar, Pivô. 2017

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Fachadas.  Plástico y metal, 800 x 215 x 40 cm, 2017. Foto: Everton Ballardin

 

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Fachadas (detalle). Plástico y metal, 800 x 215 x 40 cm, 2017. Foto: Everton Ballardin

 

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Reorganización de partículas. Polvo, 110 cm x 2 mm, 2017. Foto: Everton Ballardin

 

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Reorganización de partículas (detalle). Polvo, 110 cm x 2 mm, 2017. Foto Everton Ballardin

 

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 Suspensão I. Vidrio y semilla de palmera, 485 cm x 270 cm x 5mm, 2016 – 2017.  Foto: Everton Ballardin

 

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  Suspensão II. Impresión láser, 80 x 40 cm, 2017. Foto: Herlyng Ferla.

 

Herlyng Ferla  began his art practice with painting. He  also   quickly  became
interested in discarded objects left around buildings undergoing demolition.
Ferla started to use abandoned doors and windows, removing  overlaid paint
layers, sanding down surfaces,  joining  parts  and  giving  them   new  bodies
whilst also   transforming   their  purpose. By  splitting  object  and  function,
these pieces take on a strange presence, as they no  longer  repeat their daily
production  mantras  but  allow   us  to  listen   to  micro-accounts   of   urban
transformations,  obsolete  operations  and social  dynamics. His production,
however, does not materialise  just  through  these abandoned and displaced
objects but through the indistinctness between  natural and artificial objects,
found and produced objects, unique  and  mass  objects. It  is  precisely  from
the hybrid composition of these  materials  that  Ferla’s work reveals opacity
as an attitude towards what cannot be  fully  classified  or  understood  in  all
its extension. First  there   was   the   sea – his  exhibition  title – is  part  of  a
verse by Colombian writer  and  artist  Éricka  Florez  that says: “At  the start
there was  nothing, no  matter, no  intention, first   there  was   the  sea”. The
image of the  sea   crosses   several   layers  of  the exhibition, even  though  it
doesnot appear in direct form. It is  present in  the  glass floor  piece – where
a palm tree  seems  to  be  born  out  of  a  coconut – like  the  tide  that moves
seeds and  objects  from  one  coast  to  the  other; it  appears  as  a  metaphor
for opacity   as   a  colossal   volume   of   water,  simultaneously   transparent
and opaque, in  a   way  that  it could never  be apprehended  in its  totality; it
emerges as  one  of   the  strongest  images  of   the concept  of  ‘creolisation’,
which   is   central   to   the   exhibition; and    it    is    finally    present   in   the
artworks inside this immense concrete wave.
Marilia Loureiro

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