ArtRio 2012

International Contemporary Art Fair
12th – 16th September 2012

Location:
Píer Mauá
Avenida Rodrigues Alves, 10
Praça Mauá – Rio de Janeiro – Brasil

www.artriofair.com.br
What lies at the basis of our presentation for ArtRio 2012?

The two artists, Mark Davey and Agustina Woodgate, form the crux of this presentation; British and Argentinian, seemingly each the antithesis for the other’s stylistic technique, the two artists harmonize in their exploration of relationships. Davey’s mechanical and hard-edged practice transcends into the emotional and fragile. By using mirrors, motors, neon lights and steel his structures explore the machinations of human desire in an uncannily anthropomorphic way.

In contrast, Augustina’s works prefer to operate on a more intimate and direct level. This artist anticipates a response from the viewers; their reactions and interactions create the meanings for her works. The soft, glistening surfaces of her rugs, put together out of fabrics from discarded teddy bears, provoke awe and nostalgia whilst unifying viewers into one collective body.  She encourages us, as the aforesaid collective, to question the relationship between the materials used;

The latest body of works showing at Art Rio is about further exploration that we have with materials and their own relationship with each others leaving the viewer to question their relationships with the objects.

The sanded one dollar bill note shown a green and black imprint symbolizing both sides while the process is being done, like a decisive moment in time. The paper and dust are separated from each other, leaving the question of where is the value, is it in the ink dust or the paper/both, is it still a one dollar bill, does the value really matter or the simple beauty and dialogue with the 3 objects is the value…?

Merging an appreciation of these two artists’ works harmonizes both; the human element in Davey’s work is drawn out and Woodgate’s bill incite a greater unified reaction.  The works are thus in perpetual conversation with one another.

The human element evoked is also echoed in Camilla’s exploration of a body, its components and significance as a being. The artist seeks to unearth and lay bare the hidden mysteries and stories locked inside each person; the experiences of the body are therapeutically expressed on scarred canvas in a cathartic release. Again a relationship, this time between the body and the spirit, in addition to between the artist and viewer, is prevalent.

Camilla deems the process of ‘making’ an excavation that simultaneously involves the artist and the materials, instigating a dialogue between history and the immediate presence.  The work’s meaning is relayed to the experience of those who encounter enabling to work to be in constant state of flux, with an eternal yet endlessly shifting meaning.

These artists all use differing and innovative mediums with contrasting aesthetic aims.  The concept of relationship, the human perception, understanding and value of this all-encompassing element of life, is omnipresent and unites them in transcending the art sphere.  They each, individually and combined, facilitate a unique experience from the viewer and provoke a highly personalized response.