Cristina Salt forms within the search time. Even knowing that what exteriorize will diffuse images, born of intensity to fit into a body discomfort. He lives in the works of the artist, a duration, a passage in “uncertain conformation”, as the power of visual cross, always threats. In Inside time, the photographer starts the search in the discovery of an anatomical atlas. Shapes and body images are so surreal order that ultimately resemble the artist’s drawings. Thus, Christina intensifies certain strip, highlighting some cuts in bone, tissue, muscle, while erasing many others. The scientific nomenclature, are left “visible poems,” as she calls them. It is believed then Symbolists, poems mallarmaicos with words that raise awareness and create meaning in the space around. The areas shown here are intermediate. The anatomical images emerge whole and repeated organs, eyes, mouths, noses, hair.
This exhibition thus comes to situations that blend between visibility and shadow, form and time, the voice and silence. Such silence part, first of all, the perplexity of the Cristina Salgado’s work is predisposed to mimic, “gestures that are already drawing”, joining almost like writing and orality. There are sounds? And when this question is based found that if these sounds dwell also, the interior of time ultrasound. The landscape will not be heard. Nothing will resemble the evocation of storms or calm.
What science seeks to show is “not seen the lost moments”. Lost ignorance but also the passage of time, the aging, the change of state. And so the body will lose the tips, abandoning their regular contours.
There are in all the research presented here is a coming and going of references, a metallurgical old, the inexplicable furniture, different times of work artist’s career. Above all, we see the choice for a certain aridity, which immediately puts the landscapes rather than mirages. Such dryness of the matter is conditioned to a paradoxical time, that indiscernible between past and future, where things seem clear in its expressible clarity but ruins the appearance of certain expiration. Everything can expire. Even more for a vigilant society “which marks hours equal for everyone,” wishing to capture the moment. The same society that does not realize the omniscience, the all-seeing eye, a confrontation with the time passing.
Cristina Salgado films, repetition of nature – the sea crashing on the rocks or in continuity, no gesture, no horizon – aims to remain as the desire to move will be, always, the desire of inertia, “to see get the remaining “.
And so, the artist deals with cancellation techniques, just in images that appear to reveal all: the interiors, the epithelial nomenclature, the most unreachable divisions. We are then on securities without content and body designs without skin protection. Here, the artist imposes direct contact, where ergonomics, for example, was not included. How dwell chairs that seem to predict the presence of the body, since it imposes narrow, high, ent too much? Faced with such a scene, we can agree that “being is not to dwell.”
To this, this exhibition proposes, treating the space as if it were an after, a de-possession. And so, there will be stored, nothing to cover the shelves. First of all, the days and dreams are the only way to separate the worlds, no more ownership of forms, but rather the search inside the time.
Every release of power, as taught by Paul Virilio, will always formulated by disappearance techniques.