I build up my artworks in several layers. The architectural plans form the first stage in the process. Color fields, transparent layers, and drawings are then superimposed. Each layer has its own aesthetic language and particular shape.

I draw organic structures, cells, fibers, veins, organs. I take those structures as an opportunity to refer to what is not on the surface.

I work simultaneously, adding dimensions, creating structural organizations, and cutting, dissecting as with anatomic research. I describe topographies, reveal contained systems, and create a relation between them. It is about revealing and hiding in a complex mosaic where I investigate the origin of sensations and perceptions.

I’m interested in the multi-faceted layers of place, space, and time that impact the development of personal and communal identity, a psychological cartography in which thoughts spread like electromagnetic waves created from a brain that simulates reality and life history. Seen as a whole, my works appear curved and in winding abstractions. This reminds me of a poem:

O poema da curva
Não é o angulo reto que me atrai
Nem a linha reta, dura, inflexível, criada pelo homem
O que me atrai é a curva livre e sensual,
A curva que encontro nas montanhas do meu país,
No curso sinuoso dos rios,
Nas ondas do mar,
No corpo da mulher preferida.
De curvas é feito todo o universo,
O universo curvo de Einstein.

(Oscar Niemeyer fev.1988)

Poem of the Curve
It’s not the straight angle that attracts me
Not even the straight hard line, inflexible, created by man
What attracts me is the curve that is free and sensual,
The curve that I find in the mountains of my country,
In the winding course of the rivers,
In the waves of the sea,
In the body of the favorite woman
From curves the whole universe is made
The curved universe of Einstein.

The perception of my artworks is based on simultaneity. Viewed from a distance, everything converges. Close-up, the drawing splits into individual events. As a result, people have to keep moving in front of the artwork, for the process of perception is expanded and enormously enriched by stepping closer and stepping back.

My idea is to invite people to immerse themselves into details, imagining themselves to be setting fourth on a journey, like a diver penetrating the surface to explore inner landscapes of a deep and profound world.

Likewise, I experiment more or less the same about the creative process. Nature repeats itself on different scales and in different ways. A view from the microcosm can be a detail of the macrocosm and vice versa. What is a vein can be a bunch of coral or a river. What looks like a sea sponge can be a brain, and a drop of water can be a planet covered by a very subtle atmospheric veil. It depends on each person’s point of view.

Elizabeth Dorazio

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