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Untitled

Karina Marques - 2018

Drawing done with paintbrush and ink on white vergé paper 180g

24,00 cm height x 33,40cm width x 0,10 cm depth

USD 225,00

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Product code: 14254

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THE ARTIST

Karina Marques

“Art amplifies, dilates, transposes, overflows, invents, researches and transgresses. Art is an instant or a process. There is no precise definition for art. It amplifies, overflows, and transposes the very concept, itself, of art.”

From drawing to relational languages, the influences on Karina Marques come from very different fields, and from her taste for dialogues – mainly the sources are in the spheres of science, philosophy and the visual arts. Among her “great friends” are physicist Fritjof Capra, cosmologist Luiz Alberto Oliveira, astronomer Marcelo Gleiser, and the neo-concrete artists Lygia Clark and Hélio Oiticica.

Modernists, constructivists, neoplasticists – including Kandinsky, Mondrian, Cézanne, Van Gogh and Picasso. There you see it: What inspires her are dialogues – the Other; the continuous line that thinks, links, divides and causes again to think.

In visual poetics, most frequently, the techniques are the means. They squeeze the relationship between the how, and what is done. They arise because of an interest in a specific subject, one might say in something that ‘tempts the eye’, without one knowing exactly why – or it might be from reading a paragraph on the origin of the universe... The quest for the ideal matter or technique that will correspond to an idea or sentiment is woven in between the investigative and the creative process.

There are always underlying aspects in the subject that will be able to be attached and revealed by artists: dormant narratives, that are part of the whole picture of existential questions to be experienced through various means. To some extent her choices are related to the languages that will be used to manifest her poetic expression. In the words of the Portuguese writer and poet Fernando Pessoa, “You build the road ahead, by taking it” – or “You discover the way to go, by going” ( – our attempts to transduce Pessoa’s crystalline Portuguese: "O caminho faz-se caminhando").

Karina’s output usually begins from the relationship with the subject/matter, that is to say from interest in various subject/matters. She says she also likes shape, seeking a fit between two similar objects, as if they belonged to the same...set of gears. In this sense – from the relationship with the subject – the artist seeks to deconstruct concepts and propose new meanings. At the same time, there is reading, such as of some authors referred to above, that leads her to imagine plans for installations, objects, paintings, performances. Drawing is the vehicle for transposing what she imagines – what is in her mind. Sometimes she imagines projects in the form of spatial drawings, schematics. But she also imagines ready, completed works, in their manifestation. But also, beyond the means and manners of completing a work, her output is self-referring. Often it is motivated by recovering and re-signifying private, older works.

When she resumes work from a decade ago or from prior phases, to relate with recent works and create non-linear narratives, in which concepts and research itself intertwine, she perceives that her motivations and quests constitute a network, a web, in which the threads are never in fact loose. The phrase by poet Mia Couto: “It was in my past that I carried my future soul” ("Foi no meu passado que eu carreguei a minha alma de futuro") appears in the presentation text of her most recent solo exhibition (2017), titled “Between Layers”. To some extent reflects that motivation: between layers, between works, time, sentiments, which interpenetrate, where at one and the same time one lives the past, the fact and sense of history, and points to the new. And at this place of the great web of motivations, she no longer lets her attention be monopolized by the subject, nor the art object itself, but by the Other, and how she can resolve all this within the field of visual art.

Her present output of drawings demonstrates a relationship with line, drawing, prints, and the expanded concept of that language: recording of rapid and precise gestures, in which the total involvement with what is done is perceived while it is done. Several factors enter a dialogue: Japanese calligraphy – Shodo, an oriental writing that does not allow repeating the gesture, because the line itself is meaning; weight and lightness joined with the paper. At some moment the precisely-directed pen gives way to a slow, navigating line that crosses the limits of the paper to re-emerge in small points projected by the force of gravity. Or – in rhythmic movements – that transforms the delicate bristles of the brush into small matrices. Visually there is the contrasting relationship between the white of the paper and the black of the Nankin ink, in the eternal quest for harmony. Experimentations in space/time, in a juggling game of the parts speaking of the whole, in the incessant quest for equilibrium. Or, a reaction to equilibrium, as happens in some exercises in which an attempt is made to subvert order when inaugurating a new level of graphic signals.

Karina was born in Castro, state of Paraná, in 1969, and brings with her memories of an excellent infancy. She remembers that her mother unknowingly influenced her art, by encouraging her as a child to look through enormous art books on the tabletop. In 1985 she moved to Curitiba to conclude studies, and in 1987 entered the course in painting at the Paraná School of Music and Fine Arts. During these studies she made many paintings – landscapes in oil, widely shown. She was selected for the Itaú Cultural Visual Directions Program, and took part in four editions of that installation in late-1999/early-2000 (Belo Horizonte, Penápolis, Brasília and São Paulo), specifically participating in the session O Plano Ampliado (‘The Widened Plane’). In the same year she won an award at the Salon of Paraná. She has been shown in various group and individual exhibitions, and her work is also published in books.

Since then she has also created, developed and taken part in various artistic and educational projects and works. She currently works in the educational sector of the Oscar Niemeyer Museum (MON), in Curitiba (Paraná), where systemic thinking is used to prepare workshops and mini-courses, in particular, aiming to expand perception of self and the environment. The poetry of the simple and banal is the object of her current research, using contemporary languages such as installations, interventions and performance.

“Art”, she says, “amplifies, dilates, transposes, overflows, invents, researches and transgresses. Art is an instant or a process. There is no precise definition for art. It amplifies, overflows, and transposes the very concept, itself, of art.”

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