The eye confuses itself in the casing.
Between bubbles and wraps,
searches in its interior,
dances in its transparency.
The doubt then,
projects itself in the desire of touch,
In the pleasure of burst.
Rigid surprise,
Of the glass,
FRAGILE
Diptych in cast glass and decal. Presented in "5 Exhibition", Feel Brazil, Milan, Italy and in II Mestre D' Armas Art Salon, Planaltina, Goiás.
About flowers, glass, shadows and contemporary art
Notes on recent art work from Patricia Bagniewski
Flower symbolizes many things.Glass is a transparente material. Shadow is
an unfold of light. To transform the matter into symbol, maybe one of the
functions of art. The recent art work of Patricia Bagniewski points to this
open question. The series is composed by glass flowers and its
shadow projections. It is an installation, an interaction of these
elements creates possibilities of immersion for experience of enchantment
and delicacy.
The made up flowers, transparent sculptures from imaginary experiences,
bathed by a specific light, unfolds itself in shadows, universes
parallel to anamorfosis. The lab glass is manipulated by
heat, in an alchemical wit, in a post modern office where it is possible
to give form to what doesn't have. Manipulated in high temperatures, it fuses itself,
moulds itself and let it color. From a given matrix, the natural
beauty, the matter transmutes. The art articulates the junction daily
life with an extraordinary imaginary order.
Symbol of passivity, the flower represents, on one way, development,
perfection and consciousness, in the other hand, points to a notion of allegory,
ephemeral and transience. The glass, when it lets us see through, by its
transparency, captures the eye. The view rests on the flow of the
crossing. The eye goes through what can be seen and encounters the
deformed shadows in fluid exercises of a cosmic dance.
The shadow is part of life, reveals a remote parcel, unfolded,
of an runny presence. What is, is what can be seen. So, contemporary
art presents itself in a field of meaningfull significant
porpositions, where fruition creates a notion of the world.
Carlos Silva
Brasília,July, 2019
Lampworked borosilicate glass flowers. Presented in MADE Fair by Arte Hall Gallery, Sao Paulo, 2019.
When the air
Fills spaces
It become shapes
And when they are squeezed
The release their internal air
Arrising another
The form of air.
Installation with 50 pieces in moulded and blown glass, Galeria Vivant Annexe, Ginza, Tokyo, Japan.
Party is over
5.30 a.m, half light
40 glassblown balloons
a household ambient.
Alibis that dwell on
furniture, tables, floor, air.
Portrait of something that did not exist.
Transparencies go across
and retains the eye.
Sometimes distant, sometimes almost, sometimes now.
40 glass blown balloons on wooden furniture. Presented in Galeria Alfinete, Brasilia, 2014.
Wooden bed, sand, moulded glass bucket and spoon. Japan, 2007.
30 blown glass pieces installation, containing sugar, hung in the trees of the forest. The bubbles became like observatories of insects that would feed on the sugar. The work was a result of the art residency in the project “Creation and Voice of the Woods”, in Yokohama, Japan, 2007.
The balloon flies
Without precision of landing
Destiny takes it
To the tip of the needle
That the hand holds.
Cast glass hand, Glassblown balloon, needle and red string. Japan, 2008.
Untitled I and II
Fused glass with insertions of
drawn paper, metal objects
and plaster. Frame in plaster.
7˚ Contemporary Art Salon of the Yacht Club - Brasilia, 2003.
The man
Waits for his rescue
Crossed arms
Impatient
When actually
He is already
Safe.
Moulded and coloured paté de verre, stone, maquete figure and water. Japan, 2008.
Pills
Pills
Pills
1x
2x
3x
Daily
The same image
Reflected by the mirror
I brush my teeth
Excessively
Not to leave
Any trace
Of cycle.
Mirror in tile stand, steel tray, lampworked glass pills, drinking glass, moulded glass tooth brush and needles. Brasilia, 2020.
