Carla Gimbatti: an encounter between art and the viewer

Carla Gimbatti's art is a projection of her self, an embodied feeling that
she endeavors to share with the viewer. For this reason, she takes her art
into urban areas, intervening in unusual spaces like abandoned buildings or
the dull public staircases that help pedestrians to cross the bridges that
span railroad tracks or highways.

Carla lives in the northern suburbs of Buenos Aires and she knows that these
projects will generate considerable surprise amongst their inhabitants. What
better possible outcome for an artwork than to elicit a smile or a new
thought? Considering their ambitious scale, Carla's urban interventions
require the viewer to engage with her vision on both a physical and
emotional level. Ascending and descending staircases require a certain
degree of movement. It is in this kinetic context that the artist's gesture
overtakes the functionality of the elements it employs through organic
participation.

Carla also works with silicone molds in order to produce a series of small
sculptural reliefs that work together to grow and expand across a wall
space. Created within the concept of an open and dynamic piece, the reliefs
confront each other and could be experienced as a kind of ancient script for
which we currently have no translation.

Carla is a mother, a professional, an artist and a volunteer in different
initiatives; she unfurls her talent in the attempt to experience all of
these different areas of her life. Often, when faced with the reality of
being unable to "finish" a work, she has been able to appreciate its
multiple smaller "completed" parts. Thus, she discovered a modality in which
to work that can be described by the expression, "Contemporary Quilts." This
technique uses disparate elements to weave together something whole. In
Gee's Bend, Alabama, African-American women knit together scraps of fabric
in order to create blankets and coverlets. Similarly, when Carla has brought
together different patches, she has been able to complete her work. The
visual depth and richness of her "Quilts" mark her as an artist who is able
to rely on tradition in order to join the contemporary language of art.

And so her new series, "Imprints" was born. In this project, she has worked
with all the possible media in her reach: photography, pen and ink drawing,
prints made with layers of acrylic, oil paint and air spray. By using new
materials and fixatives, she has been able to create the desired texture
that serves as the image's foundation.


Without pre-established rules, she has discovered this new visual quality by
utilizing fingerprints that coalesce into a composite image to generate a
new personality. "Pepe and Solana" are her friends, however the viewer
doesn't see a digital identity, but rather is able to experience the liminal
state the image inspires; within this suggestive territory, the viewer is
allowed to discover landscapes, eyes, animals and human faces. As Salvador
Dalí once said, "A talent for life depends on one's capacity to hallucinate
willingly."

In this new image, Carla does not reproduce identities. Instead, she is able
to step back just in time and give the viewer full breadth in which to
launch his or her imagination.

 

Julio Sapollnik

Independent curator. Licenciatura in Art History, MA in Argentine Culture
(with aid from the Fullbright Commission and the International Council of
The Museum of Modern Art, New York). Jury member for major awards. He has
served as the Director for the Palais de Glace and the curator at Special
Exhibits for the Argentine National Library. Former art critic for the
newspapers, Clarín and Página 12. He has worked in collaboration with the
magazine, "Arte al Límite" in Chile. He is currently the host of Radio
Palermo's program "Cultura al día" (FM 94.7). He organizes the "MIRA" Art
Festival at the Borges Cultural Center. Curator for the 2018 "Esencias" for
the Colección Fortabat. jsapollnik@gmail.com