Natur/allie

"Quand il faisait beau temps au paradis perdu"
Beaudelaire

When Vilma puts life in photo: metaphor. When the phot in life: metalanguage. But iconic and symbolic signs merge (at grips). For the metaphor the camera captures what had already been ordained worddly, even if fortitously: to choose is to force the thing to take care of itself as if posing for meaning that is not sure of being there: Ex-photo, Holy Family, Wound-licking, Greek tragedy, Museum, Roots of memory. Metalanguage: the thing shoots the photo, records it, denounces and reveals the photo foto-camera. The zero degree of this visceral operation can be seen in the absurd, inconspicuous landscape called Sea of rain. And But in other dialogues where misleading names are used or none, in harmonious imbaolance od reticular textures: Short circuit, Redemption.

With Vilma, gray deluding black can be inferred as joy.

Under the quasi-sarcastic judgement of the moby-dickean eye of My mother's navel, viscera and organs that are at same time owesame and comical-gruesame My livervis gone, Tongue power. Alsoin molds, the metalic roses in twisted ribbons are sent crematorium: Secrets by a bedside table of a hospital Venus.

   

Refined naive, she widens the objective eyelids of painful diaphragms in filmic entrails, like a dying body diagnonsing the photography. Or rather, the history of photography, from Nièpce to Rio Branco,(saying hello to Atget from the Rain/sea to a derelict house filled with furniture debris uninhabited by a stray dog.

Dark melancholic-oswaldian solar canon(1) aimed at friends and foe expose-and-be-exposed under the light that is far from "light" - that is the slompian camera.(2) From openings and crevices on a wall or the Dada-inspired genital slope, to an outrageously beautiful frame of a teen aged nakedness under scribbling caresses of a fern (unexpected academic upsurge),(3) pasionaria and passionate Vilma Slomp strolls along the painfully paradisiacal landscape of her bioluminosity.


(1) Allusion to a poem by Oswaldd de Andrade (1890-1954) on on-five road photographers of the twentes in Brazil.
(2) From the series Illusion
(3) Allusion to Dolores Ibarruri (1895-1989) Spanish symbol of revolutionary woman in the civil war

Décio Pignatari / Curitiba July 2006