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A concha, a espada, o corte e o amor

São Paulo
28 Oct – 23 Nov 2019

A concha, a espada, o corte e o amor
Katia Salvany

A concha, a espada, o corte e o amor
Works
Video
Exhibitions views
Katia Salvany

Galeria Kogan Amaro São Paulo
Alameda Franca, 1054
Jardim Paulista, São Paulo, SP
info@galeriakoganamaro.com

In the open groove created by a gouge held by Katia Salvany, runs a blue river. It molds dresses, shells and drawers. It runs through the strands of hair and the expressions on the female faces that pay close attention to the viewer. At the same time as it draws, the slit connects the supports showcased in The Shell, the Sword, the Cut and the Love (A Concha, Espada, Corte e Amor), the artist’s first exhibition at the Kogan Amaro Gallery.

Katia is a research-driven artist. She investigates with a curious eye the contamination between engraving, painting, performance and video. Her work begins with a feeling and, like a river, runs through each medium like if it were a fraction of a movie. This is because her sublime interest is the body and the traces it leaves in time/space. Even when it is not there anymore, the human figure leaves its print, either in figures or in memories, composing the narrative. “Women and shells with drawers, suspended against white paper, painted and drawn with cuts on wood, are like metaphors of the many feminine lives and stories that cross my body,” she explains.

Engravings, paintings and three-dimensional pieces serve at times as props, at times as protagonists of a fictional narrative which transits between static and movement. They act as a representation of the genres still life and self-portrait that are exposed to Katia gouges and are made using the mokulito technique, an alternative process based on the principles of lithography, but that use wood as a base. This process makes the print into a unique work, with invented perspectives, through which it distorts objects to remove their interiority in an attempt to incarnate them with its own presence.

Katia’s multiplicity does not fit in drawers. The fidelity of her composition is the artistic soul, which she plunges into each genre, as is the case with the works of Joan Jones and Kiki Smith. A piece of work that seeks the density that each platform has to offer. Be it her, her alter ego, the experience is the needed key to dive into her blue river.

Ana Carolina Ralston
Curator

Works

Katia Salvany
View all

Video

Exhibition views

Katia Salvany

Porto Alegre, Rio Grande do Sul, 1964
Lives and works in São Paulo

Katia Salvany is a plastic artist, her practice and research in art encompasses different two-dimensional and three-dimensional expressions, based on performative actions and / or technological interfaces, in the transit between fixed images (drawing and engraving) and in motion (video and performance). Graduated in Art from the University of São Paulo, she received her Master’s and PhD in the same institution, where she was awarded the CAPES scholarship at RCA-Royal College of Art, London. She currently teaches drawing, engraving and lithography at the Centro Universitário Belas Artes in São Paulo.

A concha, a espada, o corte e o amor
Works
Video
Exhibitions views
Katia Salvany

Galeria Kogan Amaro São Paulo
Alameda Franca, 1054
Jardim Paulista, São Paulo, SP
info@galeriakoganamaro.com

In the open groove created by a gouge held by Katia Salvany, runs a blue river. It molds dresses, shells and drawers. It runs through the strands of hair and the expressions on the female faces that pay close attention to the viewer. At the same time as it draws, the slit connects the supports showcased in The Shell, the Sword, the Cut and the Love (A Concha, Espada, Corte e Amor), the artist’s first exhibition at the Kogan Amaro Gallery.

Katia is a research-driven artist. She investigates with a curious eye the contamination between engraving, painting, performance and video. Her work begins with a feeling and, like a river, runs through each medium like if it were a fraction of a movie. This is because her sublime interest is the body and the traces it leaves in time/space. Even when it is not there anymore, the human figure leaves its print, either in figures or in memories, composing the narrative. “Women and shells with drawers, suspended against white paper, painted and drawn with cuts on wood, are like metaphors of the many feminine lives and stories that cross my body,” she explains.

Engravings, paintings and three-dimensional pieces serve at times as props, at times as protagonists of a fictional narrative which transits between static and movement. They act as a representation of the genres still life and self-portrait that are exposed to Katia gouges and are made using the mokulito technique, an alternative process based on the principles of lithography, but that use wood as a base. This process makes the print into a unique work, with invented perspectives, through which it distorts objects to remove their interiority in an attempt to incarnate them with its own presence.

Katia’s multiplicity does not fit in drawers. The fidelity of her composition is the artistic soul, which she plunges into each genre, as is the case with the works of Joan Jones and Kiki Smith. A piece of work that seeks the density that each platform has to offer. Be it her, her alter ego, the experience is the needed key to dive into her blue river.

Ana Carolina Ralston
Curator

Works

Katia Salvany
View all

Video

Exhibition views

Katia Salvany

Porto Alegre, Rio Grande do Sul, 1964
Lives and works in São Paulo

Katia Salvany is a plastic artist, her practice and research in art encompasses different two-dimensional and three-dimensional expressions, based on performative actions and / or technological interfaces, in the transit between fixed images (drawing and engraving) and in motion (video and performance). Graduated in Art from the University of São Paulo, she received her Master’s and PhD in the same institution, where she was awarded the CAPES scholarship at RCA-Royal College of Art, London. She currently teaches drawing, engraving and lithography at the Centro Universitário Belas Artes in São Paulo.

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