Existence

Painting video/Installation Porto Alegre - Brazil

Historically, art has been defined in relation to procedures that seek to embody less tangible, mental issues. Metaphysical and conceptual concerns are purged and placed in the world via a clash with the physicality of the support and the use of materials and techniques, ultimately generating certain pieces that are considered artistic. If in the classical period the canvas was a neutral support for the presentation of the theme, in the modern period we have seen movements made by the artists who assumed the planarity of the painting, discussing its constituent elements, and then deconstructing them.

Historically, art has been defined in relation to procedures that seek to embody less tangible, mental issues. Metaphysical and conceptual concerns are purged and placed in the world via a clash with the physicality of the support and the use of materials and techniques, ultimately generating certain pieces that are considered artistic.

If in the classical period the canvas was a neutral support for the presentation of the theme, in the modern period we have seen movements made by the artists who assumed the planarity of the painting, discussing its constituent elements, and then deconstructing them. For this purpose, some artists start to present the canvas surface and the pictorial materials as a work.

Lúcio Fontana can be cited as an example of this type of attitude. The screen is no longer the support and becomes the subject itself. Malevich before that, dialogues with this questioning philosophically through suprematism and its classic white on white. Some abstract movements emerge in this direction. In the contemporary, bold proposals emerge that emphasize the process in the context of living based on the dematerialization of the object and on conceptual art. Artistic action becomes more important than its material result.

Cristie Boff’s intuitive process addresses these questions when she seeks to transcend her own work. The artist is interested in extrapolating limits in her production. In addition to the symbolism directly linked to the idea of transcendence, she does so when she opts for the skyline that goes beyond the canvas format and suggests continuity in both space and in the world. Cristie infinitely paints the infinite. The absence of a frame is evidence of this desire for expansion. In its unfolding into pieces shaped like hands, it is again the release of the object that is at stake. The materials used – from the moulds, the liquid material that fills them, and their result – are fragile and ephemeral. The artist escapes the fixed form. The hands she has created act in the world through the bodies of others. The transcendence of the work is the element that, paradoxically, is effective. It happens through the body of the public and comes to life in performances devised by it. It was necessary to leave the rigidity of the material for art to materialize.

"Cristie Boff's intuitive process addresses these questions when she seeks to transcend her own work."

Rochele Zandavalli, curator, prof. and master in Visual Poetics at PPGAV-IA-UFRGS