Laila Terra Art – Untitled (Pantone series)
Description of series idea:
Reform and resolution by Mariana Fernandes
About Eurydice of Laila Terra. Paço das Artes, 2014.
The title, Eurydice, extracted from the Orpheus and Euridice opera of Christopher Gluck was chosen not by music in itself, but by the context in which it was written. As the artist Laila Terra P. stated1, “(propose) another type of reform in the visual arts, in the way of producing works, less guided by artists and more in the composition ” The operas of the Baroque period presented a great burden of improvisation and ornamentation, and Gluckem 1762, became known as one of the greatest reformers, as he simplified the melodies by inhibiting the excesses of the virtuosity of the singers and abolishing the space for improvisations.
In the search for the exact and rigorous execution, Laila avoids improvisations, disagrees with the vibratos, and despises the ornaments. Errors must appear, not under the guise of the “gesture of the artist” and his subjectivity, but as real uncontrolled of human imperfection. The large-format plates work like a magnifying glass for the find these errors. The paint that came out of the plate, the color non-homogeneous, the dirt that the ink absorbed during the drying period.
The choice of the serigraphic technique arises from the premise of the imprecision that is to make work. From one side too, on the other hand, the response of matter. It is in the fine and almost transparent screen that resides the artistic coefficient, as Duchamp 2 would say, “an arithmetical relation between what remains unexpressed though intended, and what is expressed intentionally “.
The uncertainty of what will result in gesture, intuition, and chance are the essential elements that differentiate originality of “mannerisms”. The serigraphic screen, like the Aion blade, divides the past from the future, the action “of the” execution result “. In Aion’s conception of time, according to Deleuze 3: “(…) only the past and the future insists or subsists in time, (the present) is the instant without thickness and without extension that subdivide each present in the past and future … “.
In a brave attitude for the present, in which few artists dare to launch publicly before formulating theoretical-textual tools that justify their work, it is inspiring the existence of their Pantone serigraphs. The room with the 6 prints is a respite for the contemporary eyes, who today see so much image, but they see little. These works suffer from the evil of not finding a “place in the world”. They are not paintings, collages, or engravings and at the same time are the three techniques put together. This is because they are born contestation and the discomfort with what is set, in the search for the widening of the narrow borders of renowned It is not a work of narratives, references, illustrations or signs, work is what we see, it is the matter, a labyrinth for the eye and not for the words.
1. Interview with artist Laila Terra on June 26, 2014, in São Paulo.
2. DUCHAMP, M. The creative act. In: BATTCOCK, G. (Org.). The new art. São Paulo: Perspectiva, 1986. p. 71-74.
3. DELEUZE, Gilles. Logic of the Sense. São Paulo: Perspectiva, 2003, p. 10.
Styles of presented Lalia Terra art and artworks:
Color Field Painting
Technical descriprion of Laila Terra Art:
Used technique and materials:
typographic ink and serigraphic ing over galvanized sheets of steel or paper
The binding method:
Paintings and screenprintings over galvanized sheets of steel or paper
Available artwork dimensions:
Meduim: up to 120 cm / 48inch, Large: over 120cm / 48inch
Laila Terra art in interiors:
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