On March 8,2021, Simone Cadinelli Contemporary Art will open the exhibition “Debris, skins, waste”, featuring worksshown for the first time by the artist Jeane Terra, who applied various techniques and processes developedby her in the latest years – includingthe recent months in quarantine –taking as its starting point the debris from houses in Pontal de Atafona, a place in Rio de Janeiro’s north coast that has been engulfed by the sea for decades. Visitors will be able to see a collection, curated by Agnaldo Farias, of the poetic works of an artist who raises awareness about the memory that dwells the rubble of houses, and now, in a more ambitious effort, of cities.In January 2020, the artist did a long research on Atafona beach, and from this immersion came outinstallations, sculptures, objects and works featuring her peculiar “dry painting” or “paint skin,”a process created by her and which has been patented.
Due to the covid pandemic, the show can be viewed in the virtual tour on the website www.simonecadinelli.com. The gallery is open from Monday to Friday, from 1pm to 6pm, upon booking.
Agnaldo Farias states that “this is a beautiful moment, when not only the artist can see her works brought together, as opposed to scattered in the studio, but also the visitors can appreciate all the wealth, fertility and amplitude of her research, and this is a huge privilege.”
Having adopted social distancing measuresduring the pandemic, Jeane Terra focused on her studio, where she could concentrate on many experiences that she had been doing. From this period, a new technique was born, invented by her.She calls it “monotype in paint skin,” and eight works made with this technique will also be at the exhibition. In this series, the paint skin is used as a whole in a large format, up to 1.10 meters, as a support for a dry monotype that the artist transfers in a delicate and complex process, which produces the “appearance of a parchment, of an old document.”The printed images are photographs that the artist took in Atafona. “I wanted to tattoo, to mark, to engrave on the skin. And in the process of transferring the image to the skin, it breaks up, tears apart, like memory.It seems as if faded by time,” she remarks.
In a virtual chat with the artist held in December 2020, Agnaldo Farias, curator of the exhibition and author of the accompanying text, noted that he had been following Jeane Terra’s work “since when she was still just up-and-coming.” “Her work has a lot of strength, and it is a privilege to delve into her work,” he says. He finds it “impressive that her name isJeane Terra (which means “earth” or “land” in Portuguese) and she carries out such a unique research.” “I don’t believe in coincidences,” he says. “This idea of waste, skins and debris has to do with buildings and with an architecture that is claimed by the land itself,for a state of decay, so that the construction goes back to the land itself”, he points out.