About the exhibition in Sète...!

Consegues fazer o pino sem o fazer?
In the exhibition cycle My Art Goes Boom, 21 Julliet 2018 Sète.

A title is commonly used by the spectator – the same thing applies for the artist – as a cane stick. The title creates a bridge – even if it’s to destabilize – between the artist, the work exhibited and the spectator. In this particular case, the title is an interrogation about sight and posture. It interrogates the spectator; can you do this? It’s a challenge. But it shows itself as a paradox; can you do this without doing it? Asking the spectator to think about the fundamental of the interrogation itself opposed to asking himself if he can, or can’t, do a certain thing.  So, this title only closes some paths to deepen others, whatever they may be.

The works of Laura Figueiras are embedded with a pure and joyful curiosity by someone in constant experimentation. They show an immense variety of colors and shapes that overlaps themselves in a perpetual game between what is presented and what is hidden, what is real and what is virtual. She uses the wall/table surface to play with those works to create others, positioning them with the same aim that she does in paper, highlighting this constant will of getting new possibilities to find new compositions. In the end, they similarly deliver us the same kind of depth that our so beloved computer/smartphone screen delivers us. They stand as a cycle that creates new possibilities, new surprises for the future.

For this exhibition I choose to present a series of drawing of an ongoing project; Its like trying to narrow a single drop of water while sunked in a bathtub (Est-ce que vous avez besoin d’un serveur?). One of the reasons why I shoosed to present and ongoing series, was to correspond the easiness of Joris (the person ahead of the exhibition space) who invited us via Instagram, without knowing us or our work, to make an exhibition with a six days notice.

These drawings are performances. They are performances that result in a big (several Kilometers) virtual drawings. They are fulfilled with an application that I use in my smartphone that follows me in the streets of Montpellier when I’m looking for a job. Those paths are performed by bike. Each of them is sectioned in diverse rectangles to be printed in several A4 paper sheets. Those sheets create a puzzle that disperses itself in the surfaces of the exhibition space, approaching to the track created by someone that tries to find something in a unknown town. They are big drawings performed by someone who doesn’t have an atelier to work and uses his time to make up new ways to create, (all of us create in a dayli basis, we just need to find a way to materialize it).

                In the end of the montage, we decided to put a painting made by João Gastão – a friend of us who is a Portuguese artist –, that shows a bend canvas, an introspective one, as a link to multiply and reinforce the importance of the daily process  for us, as manner to embrace the present in a perpetual way.

Kevin Claro, Montpellier 2018