Renata Padovan (1956 - )


    Initially I used organic material to do my work. I collected the material from nature and appropriated it in order to create 'drawings'. As a support I used paper or thin stainless steel mesh that revealed both the front and back of the 'embroideries' that I made with such materials as papyrus leaves or rose-thorns, amongst others.

    In 1996, after a residency at the Banff Centre for the Arts in Canada, my work took another direction. The Centre is situated in a valley surrounded by the Rocky Mountains, and it was there that the idea of 'landscape' became part of my work.

    I mean landscape in a broad sense of the term, as an ephemeral environment where "chance" and its consequences generate random patterns that affect and modify the surroundings at the same time that are affected and modified by them.

    Through a topographic approach the idea of mapping was incorporated to the work, mapping not in a sense of guiding, rather maps of uncertainty, maps of possibilities, non-guiding maps, exemplary of the unstable and chaotic character of the contemporary world.

    I am concerned with instabilities: cycles, the dynamism of fluids, reflexes, the action of the wind, networks, the flux of information. In mapping 'instabilities' I unveil patterns as ‘drawings’ using media such as sound, grass, tar, video, photography and ink on paper. With this mapping process I propose new landscapes, a reinterpretation of space that gravitates between micro- and macrocosm.

    The Laic is a series of three pictures taken in the Suffolk region in 2002. This region is known for its particular sky, which was object of various studies by John Constable (1776-1837). I took the pictures during a walk by an estuary; they are photographs of light, prints of flux of energy. The pictures have a 'fugitive' quality to them, as if in a blink the light would vanish.

    Renata Padovan, São Paulo


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