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BY CAMILA BARRETO
Will-o’-the-wisp refers to a phenomenon in which small flames, generated by decaying organic substances, glow in the air just above the surface of the water, especially in swamps or graveyards. These fleeting lights, with blue or green hues, usually appear primarily at night. The series Will-o’-the-wisp consists of six paintings that evoke a light that carves a path through the darkness. Each composition features a decisive line from which the work is structured.
Continuing with the theme of my work, the emphasis on the horizon line in these compositions alludes to the wound, the break, the displacement. In this context, the will-o'-the-wisp represents the light that emerges from that wound, serving as a metaphor for a moment of healing after a rupture, where pain transforms and becomes light.
APLOMB is the result of a decade-long artistic research process (the same period this exhibition celebrates), seeking to conceptualize painting as installation and to think of it in an expanded field. Fabrics hang from horizontal cables at varying heights, resembling a clothesline and alluding to speculations about the domestic, certain scenes and rituals of everyday life linked to the familial, the feminine, and the maternal, themes present in Camila's recent works. The architectural ruin that is Casa Rosa embraces the wind that enters it, containing it and expelling it upwards and in various directions, creating strong air currents. The wind moves the fabrics sometimes in a turbulent manner and at other times more gently. Plumbs are used to counteract the movement of the fabrics, generating resistance and preventing them from moving uncontrollably. At the bottom of the fabrics, a system of LED lights in different colours is integrated. As night falls, the light intensifies, transforming the colours of the painted fabrics.
The plumbs are made of lead (an extremely toxic element) from which they are made serve as a metaphor for the forces that hinder the personal, professional, and intellectual development of a woman-mother in a world designed by men and for men. The transformation of the work through light and darkness prompts reflection on change and the possible mutation of things and life itself.
Will-o’-the-wisp refers to a phenomenon in which small flames, generated by decaying organic substances, glow in the air just above the surface of the water, especially in swamps or graveyards. These fleeting lights, with blue or green hues, usually appear primarily at night. The series Will-o’-the-wisp consists of six paintings that evoke a light that carves a path through the darkness. Each composition features a decisive line from which the work is structured.
Continuing with the theme of my work, the emphasis on the horizon line in these compositions alludes to the wound, the break, the displacement. In this context, the will-o'-the-wisp represents the light that emerges from that wound, serving as a metaphor for a moment of healing after a rupture, where pain transforms and becomes light.
APLOMB is the result of a decade-long artistic research process (the same period this exhibition celebrates), seeking to conceptualize painting as installation and to think of it in an expanded field. Fabrics hang from horizontal cables at varying heights, resembling a clothesline and alluding to speculations about the domestic, certain scenes and rituals of everyday life linked to the familial, the feminine, and the maternal, themes present in Camila's recent works. The architectural ruin that is Casa Rosa embraces the wind that enters it, containing it and expelling it upwards and in various directions, creating strong air currents. The wind moves the fabrics sometimes in a turbulent manner and at other times more gently. Plumbs are used to counteract the movement of the fabrics, generating resistance and preventing them from moving uncontrollably. At the bottom of the fabrics, a system of LED lights in different colours is integrated. As night falls, the light intensifies, transforming the colours of the painted fabrics.
The plumbs are made of lead (an extremely toxic element) from which they are made serve as a metaphor for the forces that hinder the personal, professional, and intellectual development of a woman-mother in a world designed by men and for men. The transformation of the work through light and darkness prompts reflection on change and the possible mutation of things and life itself.
Camilla Barreto (b.1982) is a Colombian artist and painter.
BY CAMILA BARRETO
Will-o’-the-wisp refers to a phenomenon in which small flames, generated by decaying organic substances, glow in the air just above the surface of the water, especially in swamps or graveyards. These fleeting lights, with blue or green hues, usually appear primarily at night. The series Will-o’-the-wisp consists of six paintings that evoke a light that carves a path through the darkness. Each composition features a decisive line from which the work is structured.
Continuing with the theme of my work, the emphasis on the horizon line in these compositions alludes to the wound, the break, the displacement. In this context, the will-o'-the-wisp represents the light that emerges from that wound, serving as a metaphor for a moment of healing after a rupture, where pain transforms and becomes light.
APLOMB is the result of a decade-long artistic research process (the same period this exhibition celebrates), seeking to conceptualize painting as installation and to think of it in an expanded field. Fabrics hang from horizontal cables at varying heights, resembling a clothesline and alluding to speculations about the domestic, certain scenes and rituals of everyday life linked to the familial, the feminine, and the maternal, themes present in Camila's recent works. The architectural ruin that is Casa Rosa embraces the wind that enters it, containing it and expelling it upwards and in various directions, creating strong air currents. The wind moves the fabrics sometimes in a turbulent manner and at other times more gently. Plumbs are used to counteract the movement of the fabrics, generating resistance and preventing them from moving uncontrollably. At the bottom of the fabrics, a system of LED lights in different colours is integrated. As night falls, the light intensifies, transforming the colours of the painted fabrics.
The plumbs are made of lead (an extremely toxic element) from which they are made serve as a metaphor for the forces that hinder the personal, professional, and intellectual development of a woman-mother in a world designed by men and for men. The transformation of the work through light and darkness prompts reflection on change and the possible mutation of things and life itself.
Will-o’-the-wisp refers to a phenomenon in which small flames, generated by decaying organic substances, glow in the air just above the surface of the water, especially in swamps or graveyards. These fleeting lights, with blue or green hues, usually appear primarily at night. The series Will-o’-the-wisp consists of six paintings that evoke a light that carves a path through the darkness. Each composition features a decisive line from which the work is structured.
Continuing with the theme of my work, the emphasis on the horizon line in these compositions alludes to the wound, the break, the displacement. In this context, the will-o'-the-wisp represents the light that emerges from that wound, serving as a metaphor for a moment of healing after a rupture, where pain transforms and becomes light.
APLOMB is the result of a decade-long artistic research process (the same period this exhibition celebrates), seeking to conceptualize painting as installation and to think of it in an expanded field. Fabrics hang from horizontal cables at varying heights, resembling a clothesline and alluding to speculations about the domestic, certain scenes and rituals of everyday life linked to the familial, the feminine, and the maternal, themes present in Camila's recent works. The architectural ruin that is Casa Rosa embraces the wind that enters it, containing it and expelling it upwards and in various directions, creating strong air currents. The wind moves the fabrics sometimes in a turbulent manner and at other times more gently. Plumbs are used to counteract the movement of the fabrics, generating resistance and preventing them from moving uncontrollably. At the bottom of the fabrics, a system of LED lights in different colours is integrated. As night falls, the light intensifies, transforming the colours of the painted fabrics.
The plumbs are made of lead (an extremely toxic element) from which they are made serve as a metaphor for the forces that hinder the personal, professional, and intellectual development of a woman-mother in a world designed by men and for men. The transformation of the work through light and darkness prompts reflection on change and the possible mutation of things and life itself.
Camilla Barreto (b.1982) is a Colombian artist and painter.
BY CAMILA BARRETO
Will-o’-the-wisp refers to a phenomenon in which small flames, generated by decaying organic substances, glow in the air just above the surface of the water, especially in swamps or graveyards. These fleeting lights, with blue or green hues, usually appear primarily at night. The series Will-o’-the-wisp consists of six paintings that evoke a light that carves a path through the darkness. Each composition features a decisive line from which the work is structured.
Continuing with the theme of my work, the emphasis on the horizon line in these compositions alludes to the wound, the break, the displacement. In this context, the will-o'-the-wisp represents the light that emerges from that wound, serving as a metaphor for a moment of healing after a rupture, where pain transforms and becomes light.
APLOMB is the result of a decade-long artistic research process (the same period this exhibition celebrates), seeking to conceptualize painting as installation and to think of it in an expanded field. Fabrics hang from horizontal cables at varying heights, resembling a clothesline and alluding to speculations about the domestic, certain scenes and rituals of everyday life linked to the familial, the feminine, and the maternal, themes present in Camila's recent works. The architectural ruin that is Casa Rosa embraces the wind that enters it, containing it and expelling it upwards and in various directions, creating strong air currents. The wind moves the fabrics sometimes in a turbulent manner and at other times more gently. Plumbs are used to counteract the movement of the fabrics, generating resistance and preventing them from moving uncontrollably. At the bottom of the fabrics, a system of LED lights in different colours is integrated. As night falls, the light intensifies, transforming the colours of the painted fabrics.
The plumbs are made of lead (an extremely toxic element) from which they are made serve as a metaphor for the forces that hinder the personal, professional, and intellectual development of a woman-mother in a world designed by men and for men. The transformation of the work through light and darkness prompts reflection on change and the possible mutation of things and life itself.
Will-o’-the-wisp refers to a phenomenon in which small flames, generated by decaying organic substances, glow in the air just above the surface of the water, especially in swamps or graveyards. These fleeting lights, with blue or green hues, usually appear primarily at night. The series Will-o’-the-wisp consists of six paintings that evoke a light that carves a path through the darkness. Each composition features a decisive line from which the work is structured.
Continuing with the theme of my work, the emphasis on the horizon line in these compositions alludes to the wound, the break, the displacement. In this context, the will-o'-the-wisp represents the light that emerges from that wound, serving as a metaphor for a moment of healing after a rupture, where pain transforms and becomes light.
APLOMB is the result of a decade-long artistic research process (the same period this exhibition celebrates), seeking to conceptualize painting as installation and to think of it in an expanded field. Fabrics hang from horizontal cables at varying heights, resembling a clothesline and alluding to speculations about the domestic, certain scenes and rituals of everyday life linked to the familial, the feminine, and the maternal, themes present in Camila's recent works. The architectural ruin that is Casa Rosa embraces the wind that enters it, containing it and expelling it upwards and in various directions, creating strong air currents. The wind moves the fabrics sometimes in a turbulent manner and at other times more gently. Plumbs are used to counteract the movement of the fabrics, generating resistance and preventing them from moving uncontrollably. At the bottom of the fabrics, a system of LED lights in different colours is integrated. As night falls, the light intensifies, transforming the colours of the painted fabrics.
The plumbs are made of lead (an extremely toxic element) from which they are made serve as a metaphor for the forces that hinder the personal, professional, and intellectual development of a woman-mother in a world designed by men and for men. The transformation of the work through light and darkness prompts reflection on change and the possible mutation of things and life itself.
Camilla Barreto (b.1982) is a Colombian artist and painter.
BY CAMILA BARRETO
Will-o’-the-wisp refers to a phenomenon in which small flames, generated by decaying organic substances, glow in the air just above the surface of the water, especially in swamps or graveyards. These fleeting lights, with blue or green hues, usually appear primarily at night. The series Will-o’-the-wisp consists of six paintings that evoke a light that carves a path through the darkness. Each composition features a decisive line from which the work is structured.
Continuing with the theme of my work, the emphasis on the horizon line in these compositions alludes to the wound, the break, the displacement. In this context, the will-o'-the-wisp represents the light that emerges from that wound, serving as a metaphor for a moment of healing after a rupture, where pain transforms and becomes light.
APLOMB is the result of a decade-long artistic research process (the same period this exhibition celebrates), seeking to conceptualize painting as installation and to think of it in an expanded field. Fabrics hang from horizontal cables at varying heights, resembling a clothesline and alluding to speculations about the domestic, certain scenes and rituals of everyday life linked to the familial, the feminine, and the maternal, themes present in Camila's recent works. The architectural ruin that is Casa Rosa embraces the wind that enters it, containing it and expelling it upwards and in various directions, creating strong air currents. The wind moves the fabrics sometimes in a turbulent manner and at other times more gently. Plumbs are used to counteract the movement of the fabrics, generating resistance and preventing them from moving uncontrollably. At the bottom of the fabrics, a system of LED lights in different colours is integrated. As night falls, the light intensifies, transforming the colours of the painted fabrics.
The plumbs are made of lead (an extremely toxic element) from which they are made serve as a metaphor for the forces that hinder the personal, professional, and intellectual development of a woman-mother in a world designed by men and for men. The transformation of the work through light and darkness prompts reflection on change and the possible mutation of things and life itself.
Will-o’-the-wisp refers to a phenomenon in which small flames, generated by decaying organic substances, glow in the air just above the surface of the water, especially in swamps or graveyards. These fleeting lights, with blue or green hues, usually appear primarily at night. The series Will-o’-the-wisp consists of six paintings that evoke a light that carves a path through the darkness. Each composition features a decisive line from which the work is structured.
Continuing with the theme of my work, the emphasis on the horizon line in these compositions alludes to the wound, the break, the displacement. In this context, the will-o'-the-wisp represents the light that emerges from that wound, serving as a metaphor for a moment of healing after a rupture, where pain transforms and becomes light.
APLOMB is the result of a decade-long artistic research process (the same period this exhibition celebrates), seeking to conceptualize painting as installation and to think of it in an expanded field. Fabrics hang from horizontal cables at varying heights, resembling a clothesline and alluding to speculations about the domestic, certain scenes and rituals of everyday life linked to the familial, the feminine, and the maternal, themes present in Camila's recent works. The architectural ruin that is Casa Rosa embraces the wind that enters it, containing it and expelling it upwards and in various directions, creating strong air currents. The wind moves the fabrics sometimes in a turbulent manner and at other times more gently. Plumbs are used to counteract the movement of the fabrics, generating resistance and preventing them from moving uncontrollably. At the bottom of the fabrics, a system of LED lights in different colours is integrated. As night falls, the light intensifies, transforming the colours of the painted fabrics.
The plumbs are made of lead (an extremely toxic element) from which they are made serve as a metaphor for the forces that hinder the personal, professional, and intellectual development of a woman-mother in a world designed by men and for men. The transformation of the work through light and darkness prompts reflection on change and the possible mutation of things and life itself.
Camilla Barreto (b.1982) is a Colombian artist and painter.