| Beyond reality’s geographic table, beyond the visible and tangible, beyond the five senses, there is physicality stretched to the limit. It is abstract and confused, perhaps even chaotic, without any connection points. It is a reality one can only been warned about. |  |
Clara Fiahlo – Carolina Lio
Beyond reality’s geographic table, beyond the visible and tangible, beyond the five senses, there is physicality stretched to the limit. It is abstract and confused, perhaps even chaotic, without any connection points. It is a reality one can only been warned about. Consisting of shapes and colors that hide among them, the soaking wet atmospheres of all the experiences we carry in our subconscious. Before they can assume a true and unique form, these elements can have a powerful influence on our lives. This dimension, which is often scientifically examined in psychoanalysis, is warmly examined through art.
Clara Fialho, a young Brazilian artist who lives in New York, reveals in her works a hidden world, the mind’s secret language. Her approach is not to reveal secrets, but to make a connection with the collective memories of mankind, by reminding us of their importance, and their final sempiternal victory against the external world.
That said, one cannot imagine the extent to which intuition plays a role in Fialho’s creative process. Working mostly with second-hand materials she happens to come across, the artist has even stretched a used canvas backwards over a picture frame. The logic is still that of the victory of an inner layer over one that exists on the outside, a complete invasion of the Id over the viewer’s perception. Beneath its delicate front, the work presents a powerful rediscovery of ephemeral vanity, recyclable values and a multitude of incomprehensible plastic idols, which intend to move forward beyond all myths, in their weakness and wisdom, in their poetry of anti-heroes in a fight against themselves, in their situation of slaves of time in the attempt to become immortal.
It is not by accident that an entire series of Fialho’s paintings, dated 2005, is depicted in all but three colors: red, blue and black. The first one representing blood, the second representing blue blood, the third one being oil. The groups of colors co-habit, sometimes within one another, becoming the container of visceral situations, strongly humanized and cynically natural. The word "natural" here suddenly gains a very loaded, overflowing and explosive meaning. It raises a question concerning our sensitivity to what is natural in the world. Fialho’s work depicts it as the unconscious, the cultural background of a fragmented humanity, and the uncertain ventures of everyone’s character. It makes the viewer forget about everything around them that was meant to destabilize and fear the uncertain. The participatory and investigative techniques used here are what we all long to catch a glimpse of: a free outburst that razes all iniquity to the ground
