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symphoniae

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SYMPHONIAE

Project Space, NYU, Abu Dhabi
New York University Abu Dhabi / June 2018

 
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COSMOS
mixed technique, 2018
4,12 x 2,10m

 
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ORIONIS
tempera on board and Khous, 2017
0,95m x 1,30m

 
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VIRGINIS
tempera on board and Khous, 2017
0,85m x 1,31m

 
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CASSIOPEIAE
Khous and tempera on board, 2016
2.10m x 1.50m

 
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CRUCIS
tempera on board and Khous, 2017
1,66m x 0,97m  

 
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COMAE BERENICES
Khous and tempera on board, 2016/7
1.50m x 2.70m

 
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ANTLIAE
Khous, tempera on board and straw, 2017
1.56m x 1.86m

 
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AQUARII
Khous and tempera on board and wood paneling, 2016/17
2.30m x 1.80m

 
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LYRAE
Khous, tempera on board and cane paneling, 2016
1.20m x 2.80m

 
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URSAE MAJORIS
Khous and tempera on board, 2016
1.30m x 1.50m

 
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HYDRAE
Khous, tempera on board and calabash, 2017
1.46m x 1.40m

 
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ARAE
tempera on board and Khous, 2017
0,60m x 0,40m

 

SYMPHONIAE
Elizabeth Dorazio’s recent works evoke a kind of permanent movement that arises from their cohesive and vibrant parts and the dynamic interactions between them. For many years, the artist has resorted to diverse forms and materials in order to articulate disquieting sets - systems of forms that interact with and influence one another, thus creating a sense of reciprocal action. They are akin to galaxies: geographical territories that span across wide spaces. In the recently developed series Symphoniae, Elizabeth articulated these forms as if they were great masses of sound ("Cosmos") that express themselves in a harmonious and constant way. However, in works such as "Hidrae" and "Antliae", the sets were built using various rhythms and a melodic richness, albeit without losing the balance between timbres - the euphony. In this process that edifies sound metaphors, Elizabeth also created asymmetrical scores whose richness arises from a lack of continuity - despite the interweaving of unique objects through a single line of unity ("Farham" or "Nena"). It is also worth mentioning that, by appropriating warped materials that were constructed by the hands of others, Elizabeth incorporated other voices into her works: voices that still sing of their memories, even if in a hushed voice.
Fabio Magalhães
Director of the Museum of Contemporary Art of Sorocaba

 

SYMPHONIAE
Os trabalhos recentes de Elizabeth Dorazio sugerem movimentos permanente na interrelação dinâmica das partes que agregam de modos coeso e vibrante. Durante muitos anos, a artista trabalhou formas e materiais diversos para articular conjuntos inquietantes – sistemas de formas que interagem e influenciam a condição do outra e, portanto, de ação mutua. São quase galáxias, geografias que abarcam amplos espaços. Na série Symphoniae, desenvolvida recentemente, Elizabeth articulou as formas como se tratassem de grandes massas sonoras (“Cosmos”) que se expressam de modo harmônico e sem descontinuidade. Contudo, em outros trabalhos, por exemplo nas obras “Hidrae” ou “Antliae”, o conjunto foi construído através de ritmos variados e de riqueza melódica, todavia sem perder a conciliação dos timbres – a eufonia. Nesse processo, de metáforas sonoras, Elizabeth criou também partituras assimétricas cuja riqueza se dá na descontinuidade, mas com a amarração de objetos singulares e diferentes através de um condão (“Farham” ou “Nena”). Vale ressaltar outro aspecto significativo, ao se apropriar de materiais trançados e construídos por outras mãos, Elizabeth incorporou na sua obra outras vozes que apesar de sussurrantes, ainda cantam suas memórias.
Fabio Magalhães
Diretor do Museu de Arte Contemporânea de Sorocaba