My multidisciplinary practice reflects upon the dialogue between contrasting forces through textiles, drawing, painting, installation, performance and video. It relates to the coexistance of antagonistic concepts  both in our inner and outer worlds, as well as in-between these.

   In the unconcerned, intuitive, mechanical and repetitive representation of geometry I have found a way of being active without dictating the nuances and the flow of the ending result, thus focusing on the action of art making and drawing a parallel to Kierkegaard’s inward patience. This approach allows me not only to shed light on the nature of the “error”, its liveness and importance when embeded in an ordered structure but also to take advantage of the sensory deprivation effect: revealling an image with so little happening that the eye can’t help but to be attracted to even the smallest nuances and imperfections. 

   Textiles and drawing are the disciplines I tend to orbit towards the most: both start from the same premisse, the line and the web, which are very much tied to mechanical and repetitive motions. 

   This past year I have grown more interested in branching into technological mediums such as projection and digital manipulation of video and photography upon recognizing some links between the ever evolving digital aesthetics and my work’s subject matter, as I “rediscovered” the line and web in the pixels of screens and the repetition and sensory deprivation effect in the glitch and in the moiré.

My multidisciplinary practice reflects upon the dialogue between contrasting forces through textiles, drawing, painting, installation, performance and video. It relates to the coexistance of antagonistic concepts  both in our inner and outer worlds, as well as in-between these.

   In the unconcerned, intuitive, mechanical and repetitive representation of geometry I have found a way of being active without dictating the nuances and the flow of the ending result, thus focusing on the action of art making and drawing a parallel to Kierkegaard’s inward patience. This approach allows me not only to shed light on the nature of the “error”, its liveness and importance when embeded in an ordered structure but also to take advantage of the sensory deprivation effect: revealling an image with so little happening that the eye can’t help but to be attracted to even the smallest nuances and imperfections. 

   Textiles and drawing are the disciplines I tend to orbit towards the most: both start from the same premisse, the line and the web, which are very much tied to mechanical and repetitive motions. 

   This past year I have grown more interested in branching into technological mediums such as projection and digital manipulation of video and photography upon recognizing some links between the ever evolving digital aesthetics and my work’s subject matter, as I “rediscovered” the line and web in the pixels of screens and the repetition and sensory deprivation effect in the glitch and in the moiré.

catarinadeplasticina@gmail.com

​

​

​