ANYWHERE . BRUNA FETTER
Two seesaws separated by a wall. On one end there are bricks, on the other, blocks. Panes of glass act like mirrors and multiply these same seesaws which perhaps in the reflection meet for a fraction of seconds and then separate again. A continuous up and down, always repeating, multiplying and returning to the same point. Simultaneously, the open grid allows the viewer to see what is beyond. A table, shelves, a park bench. A shuffling of inside and outside emerges. In the end, on which side am I?
This sort of apparent contradiction is a constant in Rommulo Vieira Conceição’s work, where each element contributes toward constructing a scene at the same time that it deconstructs the reference that would contextualize it. It is as though the devices of micro-localization gave partial clues about where we are. The more clues, elements and layers of information, the less our chances of situating ourselves. The non‑localization refers to a non-place.
For French anthropologist Marc Augé, a place is an identitary space, where relations, including historical ones, are constructed. On the other hand, non-places are places where the possibilities of identitary manifestations and of the establishment of personal relations do not take place. Standardized spaces of passage, such as elevators, shopping centers and airports. Redundant spaces of circulation, like Rommulo’s seesaws.
For the artist, these non-places are formed based on fragments of common, everyday life. The displaced banal object coated with glossy automobile paint, two sinks in an abstract interplay on a granite counter. They are planes and more planes, of different formats and textures. Masses of color in a brilliant pictorial construction that forms spaces. Art and life are mixed in a formal game. Concrete.
The vibrant colors that grow out of the flat surfaces of the monochromatic drawings move into space with solidity, they become the objects themselves. The decomposition of the house present in these drawings is heading toward an even greater degree of abstraction. From industrial finishing we go to the artisanal. From technical to manual drawing. Lines that delimit spaces put basic notions of perspective into question. Glazings once again confuse the viewer. A red chair, a corridor, tiles, a great many elements. An empty space full of objects that unleash information on who we are and how we interact. A social field is presented and shows us that the layers of everyday life are more complex than they initially seem.
This is how Rommulo Vieira Conceição leads us through these superimposed spaces. It is not a public square, a playground, a backyard or a house. It is the open character of these possibilities that brings us closer or distances us from his work. His world of balanced disorder confronts us with our being, living, and sharing, at the same time that it appeals to us with its absolute beauty of the banal.