In her new solo show at Vermelho, Lia Chaia presents her installation Confete [Confetti], first created 16 years ago for her first solo show at the gallery in 2006. Chaia is part of the Generation 2000 of Brazilian artists which formed Vermelho’s original cast, 20 years ago, alongside Marcelo Cidade and André Komatsu, among others – who all got their start at the gallery. That generation is known for its intense dialogue with the urban realm, its relation to nature and with its organizations and disorganizations.
Chaia’s installation is a large mural made of sticker tape and confetti. The latter element, at once a symbol and a remainder of festivities, is utilized by Chaia as a unit with which to build images that relate to nature, suggesting leaves, plants, and geometric sequences. The circular unit as an organizer of large systems is present in some of Chaia’s best-known works: from her Big Bang video, created in 2000, to Borbulhas [Bubbles], from 2008, to Máscaras [Masks], from 2019, Chaia will occasionally go back to exploring the creative potential of the upheaval of units and fractions. Along these lines and in connection with Confete, Chaia shows two new pieces, a set entitled Paisagem infinita [Infinite landscape] and the Átomo [Atom] video, both from 2022.
Paisagens infinitas are acrylic boxes containing bits of watercolor on tracing paper. These artworks are meant to be handled by viewers, who can shake and twist the boxes to change the landscapes created by the units within them. In the Átomo video, a red field with a spiral at its center stirs up balls which collide, coming together and then coming apart. The title evokes the basic unit of all matter, and at the same time the atomic model by Rutherford (1871-1937), which likens the atom to the Solar System. In Chaia’s video, however, no nucleus is ever established. Matter is always in a state of agitation, of formative potential.
In her new solo show at Vermelho, Lia Chaia presents her installation Confete [Confetti], first created 16 years ago for her first solo show at the gallery in 2006. Chaia is part of the Generation 2000 of Brazilian artists which formed Vermelho’s original cast, 20 years ago, alongside Marcelo Cidade and André Komatsu, among others – who all got their start at the gallery. That generation is known for its intense dialogue with the urban realm, its relation to nature and with its organizations and disorganizations.
Chaia’s installation is a large mural made of sticker tape and confetti. The latter element, at once a symbol and a remainder of festivities, is utilized by Chaia as a unit with which to build images that relate to nature, suggesting leaves, plants, and geometric sequences. The circular unit as an organizer of large systems is present in some of Chaia’s best-known works: from her Big Bang video, created in 2000, to Borbulhas [Bubbles], from 2008, to Máscaras [Masks], from 2019, Chaia will occasionally go back to exploring the creative potential of the upheaval of units and fractions. Along these lines and in connection with Confete, Chaia shows two new pieces, a set entitled Paisagem infinita [Infinite landscape] and the Átomo [Atom] video, both from 2022.
Paisagens infinitas are acrylic boxes containing bits of watercolor on tracing paper. These artworks are meant to be handled by viewers, who can shake and twist the boxes to change the landscapes created by the units within them. In the Átomo video, a red field with a spiral at its center stirs up balls which collide, coming together and then coming apart. The title evokes the basic unit of all matter, and at the same time the atomic model by Rutherford (1871-1937), which likens the atom to the Solar System. In Chaia’s video, however, no nucleus is ever established. Matter is always in a state of agitation, of formative potential.
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