Solo Exhibition

 January 29, 2025 to
March 06, 2025

Luis Maluf Galeria
Rua Peixoto Gomide, 1887
Jardins, São Paulo, SP

Natureza da Realidade

[Nature of Reality]

Tatiane Freitas

 

Everything is movement. Us, above all. This is the premise that permeates Tatiane Freitas’ new series, shown for the first time in the exhibition Natureza da realidade at the Luis Maluf gallery. In her works, movement is not limited to the idea of transformation or progress; it embraces the continuous restlessness that runs through the artist and is reflected in her practice.

Tatiane Freitas is not only a creator, but also a spectator of what she produces, in a relationship in which the gaze, which is on the side of the work, as Lacan demarcates, constantly questions the artist. Thus, even when her work is considered finished, it doesn’t end. They reverberate, generate questions and open up avenues for other formulations.

This relationship with the gaze that emanates from the work resonates with the artist’s reflections, recorded in notes. Describing her experience in these series as an act of “getting out of fitting in”, she abandons the comfort of what is most familiar to her, launching herself into new territories. In an intimate reflection, also recorded in her notes, she mentions the idea of “losing one’s home” – echoing Freud, who points out the fragility of the “I” that is no longer “master of its own home”. This unveiling of identity vertigo permeates the works presented, inviting the public to share in the same atmosphere, as the identity of the materiality of the works is also subverted.

An offshoot of previous works and concerns, the works on display here have the same origin: chance. Continuing his research, centered on the construction of objects from the ruin of so many others, referring to everyday life and the home, new interlocutions are opening up. Old wooden doors, now mirrored in drawings, suddenly provided the first exploratory images for these new series, in a contingency that captured Tatiane. In this way, shapes emerged that were reminiscent of the old klecksographs, the art of creating images from stains, also popularized in the 19th century as a children’s game and later taken up by the famous Rorschach test.

But if these doors were at the origin of the works that make up this exhibition, their forms have only left their traces, new ruins produced by another time, that of the artist’s creation. They now remain as powerful openings, giving rise to something new, the work itself, and the different possibilities of readings and interactions with its viewers.

And in this same passage, the same opening, a dialog with nature is established. Different states of representation of wood appear in these series, in a parallelism with different states of being and reality.

Shapes take their place on natural fiber weft supports that are colored in India ink and charcoal; pieces of charcoal find their way into sculptures; an installation of small pieces of tracing paper houses acrylic paintings that have arisen accidentally from drops of paint and folds; images of furniture, parquet floors and trees, different times of the same materiality, emerge from the void dug in the structure of checkered wefts.

Being looked at by a work is something that we can share, that unites us in a collective, but that doesn’t make us all: we are one by one. It is in this way that the works to which we relate, in the here and now of this exhibition, cast us a gaze that crosses each one in a particular way, making each subject’s experience of the work unique.

Finally, a question that, although not new, never ceases to insist and find its resonance in Natureza da realidade: how does the artist manage, from her unique experience with language, to convey to us something of a reality that doesn’t close itself off, something so much her own, but which becomes so much ours and everyone’s, making us this collective that perhaps only art is capable of making exist?

Flavia Corpas

curator