Installation composed by a series of hybrid instruments based in textiles tools, pre-cinema devices, and drawing machines, inspired in sketches and graphique archives.
In them, however, the projection of light that draws the image has become material, monochromatic threads referring to that which existed in the primitive character of the first operation of representation.
TECHNÉ seeks to create formal and conceptual intersections to refer to the history of images. It is an interpretation of the techniques and artifices used to represent the reality, based, mainly, in the perspective construction and the reflection of light. Remember for example the sighting grid, by Leon Battista Alberti or the perspective drawing device created by Albrecht Dürer, which using visual rays to accurately transcribe a form onto paper as a foreshortened shape.
«These references serve as inspiration to produce an installation that combines sculptural and even architectural aspects. I will not try to describe each of the intricacies that the group of wires or threads continues through the central piece of this exhibition. However, is interesting to say, that these threads flowing into a white panel whose myriad of perforations allows they entrance and exit of them. Since there are projected to the thick column of the room, wrapping to generate a spatial closure. What works in theory as an auxiliary drawing element, here becomes something concrete that modifies the space.
The exhibition, from there, can be read it as a materialization of thoughts and a staging of the tools and processes that allow the representation. The dim lighting of the room not only enhances the dramatic effect of light emerging after the perforated panel of the main installation, also remembers another device: the Camera Obscura. Two twin pieces, face the viewer when he entered the gallery and also appear to be connected with the old history of photography.
The concept ‘techné’ served in classical Greece to refer to all those practices that helped produce things that did not exist. The term was ample and designated art and craft works. Palomino uses this ambiguity. In her work, spinning not longer has the character of feminine vindication adopted by feminism of the seventies, but is presented as a sphere of thinking, that through the wire / line merges with the prospect, as a flow of energy or thought. Renewed, in the midst of relative darkness of the room, our own reflection of the perception and the ways that we have to materialize it. »*
* Cesar Gábler, La Panera, n.28., Santiago, Chile.
TECHNÉ, installation. Mixed media. Hadmade textile threads, wood, light. Galería AFA, 2012.