Upon My Skin

In 1999 the artist broke with the form referring to the need to feed on art by creating imaginary landscapes and the questioning of the new digital era in its dimension of freedom. This work resulted in a exhibition presented at the Alfredo Andersen Museum in Curitiba.

critical text

Art In Photographic Sensations - Silvana de Carvalho /1999 - Magazine Publisher Irisfoto

   The  photographer Vilma Slomp, at the age of 46, lives the plenitude of someone whose great passion for photography enables her to depict some vital feelings of every human being in the form of images. Her latest work brings out the pulsation of poetry, a remarkable presence in each of her works, atarting with the choice of the exhibition: À Flor da Pele  (Full to the Brim).

   This exhibition represents much more than a pure and simple reflection of the artist on the bare necessities of everybody. Undoubtedly, it is a work of conceptual art that really does a philosophical analysis of everyday life. Nevertheless, this is just the beginning.

   Ruptures and deviations are spotted in images that transgress the traditional format of photography. Despite starting her career inspired in techniques of Master Henry-Cartier Bresson, the artist deviates from the traditional route that presents the images in an untiring exercise to fight purism. “I am at liberty to experiment”, she says. Another point made by Vilma is most important tool for the creation of the forms we can see in the 16 works exhibited.

   “I have lived with every image which, aesthetically, have independent compositions”, says the photographer.

   Starting with Rosas de Chumbo (Leaded Roses), which creates an imaginary landscape on lead (which she characterizes as real), there is Plumbare Rayograph (the unreal), a solarised image that is painted with copper and golden oil, a homage to the photographer Man Ray (1890-1976); Grega Romana (Grecian Roman), whose square shape is like a game that depictis the need of art and Segredos de Cabeceira (Pillow Talk), which denounces the wish for freedom. As well that, Vilma exhibits four photos on canvas that refer to the skin: Paisagem Cervical (Cervical Landscape), Cisão (incision), Braços (Arms), and the image that named the exhibition after, À Flor da Pele (Full to the Brim). The latter pays homage to the Italian-argentinean artist Lucio Fontana (1899-1968), who used to question what was behind the canvas, giving a new dimension to the infinite.

   Incidentally, eternity is the theme that is allowed to anybody who wants to take the trip proposed by Vilma. “Everything in live is a matter of sensitivity”, she remarks. Currently, she feels mature with the chance of being wel-structured and enjoying life, full to the brim with her feelings, which she lets take over her work.

   “Anguish, the irritability of youth, is over. I am at a tranquil stage of maturity; it is good to.

Silvana de Carvalho /1999