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Joana (MON PETIT EDITE) (French Edition)

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The resolution of these digital images is a function of the number of pixels they are composed of.

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There are colors that come from the age of painting, and which I continue to use. When I edit a photograph, it is as though I were repeating elements in a combinatory fashion, as though I were expressing the same idea, but in a different way. It is not a radical transformation, like going from rock to samba, or samba to jazz. Modeling the material, like Morandi, who never stopped painting bottles, and yet they are all different. His early photographs documented actual places, which he would subtly modify by almost imperceptible additions.


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Stripped of all human presence, they nevertheless bear the traces, possible or imaginary, of the use to which they have been put. The Colombian artist, here, builds images by obliterating information in order to reveal a new reality, outlining the negative spaces and memory gaps in Latin American history. The works investigate the notions of disappearance of the physical body, in reference to the kidnappings that shook the history of her country. No matter how exhaustive these actions are, there are always residues that point out that what is absent; there are often traces that are barely visible.

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It could be said that these processes are strategies particular to drawing or any form that modifies a surface with a voluntary gesture. These actions represent for me a controlled way to obtain eloquent images through a criticism of dominant powers.

PETIT BISCUIT - Sunset Lover

For Johanna Calle the medium of drawing is similar to a language that is constantly adapting itself, integrating new expressions, voices and terms. The dynamism and versatility that she finds in different forms of drawing allow her to work with an array of materials.


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