Poetic images in Gersony's trajectory are dreams to be crafted and spread abroad.
Deifying forms and rhythms and inventing colors. Apollonian thought working dionysiacally and ecstatically.
All art provokes muscles and senses. To inebriation corresponds the power of music’s dancing on the senses.
In Nietzsche an terms, creating or inventing foreshadows a destroying, to be understood and undoubtedly resuscitated in a ecstatic new world: Marcas D'Água [watermarks].
The language of gestures and representation made from feelings and their unveiled representation / state.
In all creative activity, the artist is letting go of something from their life. The intoxication of art and life is expressed in sensitivity and splendor of color, sharp line in the source of sound, as in Encenados para Ícaros [sets for Icarus].
The world of art is constantly being recreated. Making poetry, art is poetry materialized.
Gersony’s works are epochal [epokhé] - instating memory of the future.
Moving through her repertoire, new works are clearly always able to usher in new periods, such as her blue and red one: Extensões em sensações ao horizonte [stretching sensations to the horizon].
The world of art constantly being recreated
Spatialization is presence, a way of being. Presence is never here but always there, on wings, wherever it has been. Gersony’s performances materialize her visible inclusions of the other in the appearance in which poetics dwell. Her production is her significant praxis. There is matter, technique, Heidgger’s “thingness”.
Her intellectual project shapes and hones form and embodies matter without which an event {Ereigns} cannot take place.
Installation: to erect to devote, glorify, consecrate to the world.
Installation: an event and the works open up their own world. Gersony’s installations erect objects and beckons toward iconostasis. Há colhidos brancos para Maria [there are white picked for Mary] - enter the work and participate in the offerings and celestial clouds.
Poetically becoming (un)veils invention / creation.
Spring 2017
NEIDE MARCONDES
Professor, Universidade Estadual Paulista (UNESP)
