Tempori Parcendum- It is necessary to save time. Natural and lampworked in glass Christ's crown, hourglass and steel tray with inscription.
Steel plate with inscription and natural lampworked glass Christ's Crown . Art work exhibited in " Lines of forces: Surfaces in trance", in Referência Galeria, Brasilia 2019.
Tarde Venientibus Ossa – For the ones who arrive late to dinner, only bones are left.
Steel plate with inscription and lampworked glass bones. Art work exhibited in " Lines of forces: Surfaces in trance", in Referência Galeria, Brasilia 2019.
It's during suffering
that we turn more to Faith
Thy that questions ourselves sometimes
Some other times relieve ourselves
But it's always dubious
For the uncertainty of the real and imaginative
The solid and translucent
Natural and lampworked Christ's Crown on red velvet pillow.
Art work exhibited in " Lines of forces: Surfaces in trance", in Referência Galeria, Brasilia 2019.
Mea culpa
My fault
For being born a woman
For not being born a woman
For having kids
For not having them
For only having one
For having more than two
For having to work to support them and having little time to take cara of them
For dedicating myself totally to them and not being able to work
For not being able to dedicate time to myself
For dedicating to myself
For dedicating myself totally to them
For being a single mother
For being a mom in an abusive marriage
For being a widow with kids
For being a widow without kids
For not wanting to marry
For being single
For being married
For loving a woman
For being
Me.
Moulded wine glass, moulded lead babies and tray with inscription made from salt.
Dinner time.
Food gets cold.
On a chicken bone's nest.
Rests the corn
That once fed them.
Lost my apetite.
My gums don't bear
My fake teeth,
Submerged in water.
I ruminate my saliva
In attempt to satiate my thirst.
I return the tray.
Lostwas process from the real corn.The wax corn is then covered in plaster and the wax taken out. The mould is then charged with glass, that goes to the furnace for 8 hours at 860 degrees Celsius.
Tray, moulded corn and denture, lampworked glass bones, glass cup and plate, steel tray. Presented in II Mestre D'Armas Salon, Planaltina, Goiás, 2019.
Maps
Imaginary Cities
Post apocalyptic
Constructed from
Discarded objects, residues and rubbish
Leftover of an era
Moulded recycled sheet glass with discarded rubbish: bubble wrap, packaging , wires, etc.
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.
