Naperon (doily) | Fonseca e Macedo Gallery | Ponta Delgada, Azores | From March 13 until April 28, 2009 |
Review: spreading out the doily
There are places that emanate overcoming energies and heritages that transmit constructive forces; they determine the artist’s action and build unique processes of adaptation to areas of intersection with ancestral cultures.
In the specific case of Sofia Medeiros, I could point out the fondness for a religious sense based on the Azorean culture and use that assumption to present her work. I would underline the artist’s interest in matters of Christianity and proximity to a medieval aesthetics, a serene approach to the representation of the body and of the spirit in which the pieces can be regarded nowadays.
In pieces as ‘Alma Gémea’ [Soul Mate], the heart is, on one hand, the machine that prompts the body and ensures the functions normally associated with the sexual drive; and, on the other, it’s the point of intersection between humanity and God, reporting to a spirituality that positions him as the transcendental and symbolic element liable of being found in many Sacred Art representations.
Sofia’s work takes hold of materials and stories connected to the popular Azorean imagery, conjugating traditional patterns, as the softness of the volumes given by the fabrics combined with the stiffness of the iron used in the three Pillows; it’s the same characteristic of the artist as a sculptor.
The almost playful combination of materials used for building small tri-dimensional pieces, probably an inspiration taken from children’s games, leads to other and more serious approaches, which derive the inspiration from the religious heritage of São Miguel and related traditional objects and rituals, as the Holy Spirit festivities (known for calling the people onto the streets in order to celebrate) or the Holy Christ of Miracles offerings all year long.
The obviousness of the title chosen for the exhibition tells us a particular story shared by the artist as if she were spreading her doily on a global table.
Jorge Rocha, Lagos, February, 2009