Brasília, 31 March 2019.
Soon we will never be able to say: there is nothing to see, there is nothing left to see. To know how to question what we see, we must know better how to see, regardless of everything. Despite the destruction, the suppression of all things. It pays to know how to see like an archaeologist. And it is through such lens – such questioning – that we see that things start to look at us from their buried spaces and crushed ages (DIDI-HUBERMAN, 2017, p. 61).
It is a matter of temporality, of overlapping between times: there arises an intimacy with the images. Not all of them, I must admit, but with some images that invite us, in a movement of approximation and distancing between the people, the poetics, the processes, the works. In fact, we look at things in the world and things look at us. This narrative is completely present in readings of texts from Georges Didi-Huberman, whose writings have invited me to this perspective of someone who looks, but who is also looked at.
During an invitation, a few days ago, from Lynn Carone and Fernando Pericin, I stumbled upon a process of absorption of correspondences exchanged between them, of pictures of the works and of messages exchanged with Anna Cristina de Araújo Rodrigues. I consider each of the elements therein displayed as images – each act as an imagetic creative process and fruition. From these meetings onward, I created a proper intimacy with that which was shown to me, amidst images therein displayed and images I created rom my own repertoire.
The challenge bestowed upon me, by my own will, was to constitute and restitute that which met my eye and made me part of the whole. I saw myself there, with them, in the process of dialectical craftsmanship of the images. On a whim to define what I had seen, I considered them collectors, based upon their writings about them, in their classifications, frames, and their employment of materials and languages. This became even more clear as I had the opportunity to correspond with Anna, whose epiphanies about the images and the correspondences between the two artists provoked my eyes about the reminiscent, poetic collector, of whom there, the traces by means of the images and correspondences exchanged are testaments to an intermittent process, overlapped across times:
Fernando explains, in the project, that flowers decay […] Lynn talks about the invention of photography and questions herself about the possibility of holding time still, even if in danger of making everything artificial […] And Lynn, with such perplexing sincerity when revealing to produce lighthouses to spy on the unknown city that suddenly became her home! But Lynn is mischievous: she sees such beautiful, colorful things in this town, records reflexes and duplicity of objects, and, above all, figures out the formula of time: Fe + H20 + 0 = rust! […] Fernando, Lynn, you and I, what we have been doing is the exact same exercise: look at objects, record them, search, through them, for the infinite history of the world and notice relationships between material and immaterial things, different in appearance, made out of different sources […] To look those rusty cars, those expiring flowers, the clouds and also the reflexes of objects on the glass that coats a building or in water – so fleeting – it cannot be reduced to a single time. It is necessary to go back and keep looking again, again, and again [bold text mine].
The capture of time. It was from this meaning that I saw myself between the narratives, in the images and correspondences. By means of the messages exchanged with Anna, I was able to describe the suggestion and capture of the poetic from my perspective, circumscribe the possible times in my own reading and inscribe them as collectors – to write about these collectors is to review the trajectory of my sight.
Lynn and her herbarium with the collected flora, with scientific names, newspaper cuttings, and with the frameworks, in their rocky construction, inscribes her passage through space and time, a landscape-avid collector. I have seen by the crevices and the unique cuttings of words and images her resistance and existence, under the rocks and the flora through – on – the way. In the beginning, I have seen a non-linear meaning in the construction of the images. As Fernando describes, in his first correspondence destined to Lynn, “The desire to digress and search for images and histories does not die [...]”, the digression is mentioned both by him and Lynn – she mentions digression as reflection, in the third letter – as a process’s method: interesting searches, that have pauses, whose desire vanished in certain moments, as Fernando affirms. But it returns.
Fernando, a collector of landscapes, in light and in transparencies, between clouds, beams of light, reflections and impending death of things, between the configuration of what has been and of what now is – this aspect is also present in Lynn’s work, looking at the trajectory traveled with the hebarium, since its collection, up to the dishes, just like in pictures of rusty cars – not as a threat, but as a proper condition. The images are phantasmagoric: flowers in their process of finiteness, clouds captured in diverse forms, without repetition; images of buildings, seen in their transparency from other buildings, like mirages; night light, wave and finished movement, but captured in frames. Deep down, it is all about time and the (mis)matching between the memorable collection.
Lynn and Fernando are collectors of details about time. The correspondences provoke symbioses in personal writings [mine and theirs], in the junction of temporalities, in the collection, in the making of the images. In a message sent to Anna, I write “I imagine the act of correspondence exchanges as a search for assigning meaning to what the other reads and what is read, the act of overlapping and writing about. This is exactly what we do here. We find possible ways and trajectories for what looks at us and what we look at”… and “[…] I mention historicizing not [in a] linear, chronological time, but in a time traveled between going forward, going back, choosing, going back there again by means of photography, and so forth. They create their own time amidst forms, colours, objects and letters exchanged.” I also created, in solitary moments, and together with Anna. If possible, I want more, I want to see more, to share more, to search more… incessantly, with just some breaks.
[Anna Paula da Silva]
DIDI-HUBERMAN, Georges. Cascas. São Paulo: Editora 34, 2017.