“Terra inquieta” (Unquiet land)
Un bosco Oltremare (A wood of ultra marine)
The earth in its cartographical representations – its being and becoming in the reality of time and space, and in the web of awareness of the human mind, are in this exhibition the object of intense reflection to Inés Fontenla. How can we fix our belonging in a certain land when we are aware of the relativity of the information by which we define it ? The globe of land and water has not always been as it is shown now, on the maps of our era. It is the ancient maps themselves, pre-Columbian, shown to us by the artist in her work, that tell us of the changes through grafting and fracturing, through cataclysm and resettling. And is not Europe, which first moved the attention of mapmakers, that very land which in her country of origin, Argentina, has put into play all its culture, its races, giving birth to processes of territorial complexities?
The memories which float to the surface of the imagination of this artist are innumerable, rooted and uprooted as she is in a natural process, caught by the same giddiness of light, shadow and azure which in other times and ways must have captured artists like Yves Klein and Anish Kapoor who taught the South of France to breathe Japan, Western India to breath Europe. In them, too, sensorial perception has perceived a secret , well – known to what Inés Fontenla in this exhibition gives the semblance of a wood growing in an interior on the roots of a thought that has occupied her mind for some time. The captions represent the area where science and art interact to capture attention without losing tension. The floor of the room is covered with a cloth painted ultra marine. In the bluish dusk arise nine columns, lead – covered, on which the artist has transcribed in paint the movements of the continents. The rugged coastlines, the flooding of the oceans seem to flutter and float in space, below the skimming light of the illumination.
The hum of the everyday is left behind, beyond the threshold, here sound effects carry us back to the lapping of the sea, to the mighty cracks of the lithosphere, to the sliding of land masses. No sign of alarm or unease, nature follows its course. We move through the surrounding space as through our memories. The column is seen again as a metaphor for a thought that grows to its heights from a root deep in the earth, the mind meanwhile sinks into a sea of blue, of ultra marine.
In order to enter into this work, the observer must slow his haste, alter his step, refocus his viewpoint on a land no longer strange. As in the scenes of a slow motion film, in the vision of the artist details, rhythms, forms, sounds, space for reflection, regain the meaning which speed has cancelled. Significance and meaning harmonise, become transparent, move on at a natural pace, speak a language where surface and depth, ethic and aesthetic come together .
Translation : Sandra Hancock