top of page

Sounds, like volumes, are multidimensional images created through perception. The form of a volume and of a sound are constructions linked to the time of perception and the matter that delimits the space.

An image is perceived through light. The shape of a volume or body is sculpted when there is no light, in the shade.

Sound is a set of waves that travel, bouncing from one side to the other on the surfaces of space. The matter of space and the distance between surfaces change the shape of the sound.

I suoni, come i volumi sono delle immagini pluridimensionali costruite nella percezione. La forma di un volume e la forma di un suono sono costruzioni legate al tempo di percezione e alla materia che delimita lo spazio.

Un’immagine si percepisce attraverso la luce. La forma di un volume o di un corpo si scolpisce quando la luce non c’è, nell’ombra.

Il suono è un insieme di onde che viaggiano, rimbalzando da una parte all’altra sulle superfici dello spazio. La materia dello spazio e la distanza fra le superfici modificano la forma del suono.

La forma di un suono.

Fotografie, stampa su alluminio.

Curatorial notes

The clay is kneaded to make a vase

and in its non-existence lies the usefulness of the vase.

Lao-Tze, Chinese philosopher.

Into the Gestalt, inside the form. Paulina Herrera Letelier proceeds on the backbone of the perception theories to question the relationship between similarity, proximity, symmetry, closure, continuity and structure. She accomplishes this by creating very delicate objects, moulded in clay, which hardly gain space on the third dimension of this immanent world, so close to still being pure thought, strengthened by the fire of creativity.

Forms are ideas that Paulina Herrera Letelier, architect by training, artist by vocation, artisan by action, has been pursuing for some time, moving with ease from drawing, to painting, weaving and sculpture. It is therefore not wrong to find in her research a precise unity of thought, which continues to produce links with the previous production and experiences like those of the national and international artistic residences. They have represented moments of connection with the territory and with new survey tools that from time to time she explores and bends to its narrative needs. This is the case of the photographic series on display, made in 2018 at the Borca Project (Borca di Cadore, Veneto), and at Daf Structure (Turin), during the Artissima fair in 2018, as well as the residence for the MACC Foundation in Calasetta (Sulcis, Sardinia) carried out with the musician-performer Francesca Romana Motzo, first in order of time.

The spun clay as if it were weaving, offers itself as a survey on space in relation to sound with its rhythm and its breaks. Studies on the propagation of sound, on the perception of the object, the shadows and of anamorphism, are at the base of this rarefied production, placed as it is between Melottian dreams and ironic resemblances, showing itself close to the dryness of certain works by Paolo Icaro. These forms of the daily object, poetic as well as aerial, are suggestions that the artist directs to our eye "forcing"us to pay attention to what we see inside a world, which is totally distracted by gargantuan efforts of appearance.

[Efisio Carbone]

bottom of page