The Wave, the Wheel and the Mass.
Gabinete # 13 FLORA ARS-NATURA. 2015
http://arteflora.org/2015/08/gabinete-13-natalia-castaneda-la-ola-la-rueda-y-la-masa/
I would guess one of the most significant and, at the same time, less important collections of an artist, (I might be referring to myself specifically) is the series of failed attempts, sketches and rehearsals that are left behind during the artistic creation. Those residual objects become necessary in the experimentation process.
My interest in these residuals, involves their long to escape towards the stillness that a finished piece represents. I assume these objects as possibilities that let themselves get affected by time. They can be part of other pieces, or maybe believe that in a certain moment, they may be finished. That is, their future as shapes, is unknown. It is there where my curiosity for these fragments underlies, at the end of the day; they are something between memory and hypothesis. Their beauty relies on the indecision of their shapes.
Project: The Wave, the Wheel and the Mass, is a recollection of those first attempts. Objects, that when exhibited on a cabinet, draw a line throughout the various places this investigation has been. Along with the different suggested explorations. A set of questions, still without answers. Questions that make the way or leave it behind, but can still be worked on.
For Flora+Natura, I suggested a literal cabinet of the objects that reveal the nature of these processes, their transitions and cycles. From a conservationist point of view, they intend to make the most of each of the residuals left by the production.
The idea was to show the mutation of these shapes and the way to see them, based on the objects that were generated by the exposed projects, items such as molds, sketches attempts and errors.
This project gathers a collection of objects and a catalogue. The first, allows mixtures and new visual relations through the exhibition. The catalogue has two purposes, the first is to contain the taxonomy which places each object inside the intimacy of the process; and the second is to show a temporary landscape in the Ukiyo-e way, where the chronological transitions are narrated.
This is a pilot idea to make a cartographical compilation of different artists’ creative processes. Keeping up with the idea of the publication, I am interested in drawing the movements of the investigation in each artist, through their attempts, sketches and the residual objects generated in the artistic exploration.
