"UM"
Dayana Lucas
Um
Dayana Lucas
Exhibition
27 January - 24 March 2018
Dayana Lucas (Caracas,1987) is one of the founding members of Oficina Arara in Porto (alongside Miguel Carneiro, Luís Silva and the artist duo Von Calhau!). This platform of production represents, since 2010, a shift in the public perception on the importance of the possible experimentation within the graphic arts, not only in it’s production - by thinking about production processes close to DIY and on how to make those processes socially and artistically profitable – as well as spotlighting an art form that generally leans towards intervention and anonymity in the public space.
Dayana Lucas has a degree in graphic design, though her aesthetic concerns explores the visual arts territory as well as the engaged questioning of the social and ethical limits of the creative work. That subject deterritorialization takes hold essentially in the practice of drawing, which will establish itself as an hybrid entity: both to be determined and already determined, by way of the page or other printed media as well as by taking over the exhibition space.
It’s within that interlude, where the drawing is assumed as a possibility for the para-sculptural presence, that we now present Um. In the project Right Cloud @ Wrong Weather´s space, the artist presents three drawings on fabric of a disarming simplicity. Created through a series of drawings elaborated from directly observing beans, the artist will create organic entities portrayed in space as to create an environment with potential growth, mutation and transformation.
The embrionary linearity points towards that idea and engages and confronts the irregular areas and heights of the exhibition space. As if the line, in it’s pure demarcation of the composition, emphasizes the possibility of infinite variation, mirroring the natural in a cultural circumstance. The deceptive means parsimony is here the assertion of the efficiency and the strength of the simplified image. Devoid of content, without an explicit representational drift, the shapes interact with the space as much as with the viewer perception.
The diverted attention that they reclaim it’s the subjectivation of the desire for maximum efficiency through the least possible means. The rough rawness of this proposal is an allegory to the most complex simplicity of all: of ever changing nature and of life transforming.
