Maria
Carolina
Zara Tempo e o Camugerê - AGOLONÃ
Conception
The exhibition “Zara Tempo and the Camugerê!” is born from an ancestral motivation and flows directly into the field of imagery and sensitive idealization, being sprung from a dimensionless place where the walls of memory lay: a “Quilombo”. It’s a place of possibility, through the reflections and emanations of time (Orixá Iroko), located at the junction of the existential and conjunctural axis. The projection of oneself, upon a place where freedom and ancestry coexist in the same principle, forming a web that dances with elements of the imaginary, of the gestures where honor and ancestral acts strike my essence, as an active being in this pursuit, which, like time, are fragments of spirals under construction.
The exhibition will be divided into three stages, which represent the paths taken until the “completion” of the transposition to Camugerê:
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The first stop on the “Zara Tempo and the Camugerê!” tour: It’s the gateway, bow in reverence to Agolonã, which in Yoruba represents the junction of Ago (to be allowed to pass) and Lonã or Lonan (a quality of the Orixá Exu) that is, we ask for Exu’s blessing to start working.
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The middle stop is the time to celebrate “Zara Tempo and the Camugerê!” stamping his reverence to Orisun Omi Orisun Emi (The source of water and the source of the soul).
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The epilogue of “Zara Tempo and the New Camugerê!” pervades this artist’s reverence for Ajija, who represents the spiral path, the contours of the round the world, the Xirê.
Zaratempo Artistic Sources
My art aims to express the relationship of the elements of nature and their cosmovision through the exchange of energies from the Ori (Head) with the Aiye (Land we live in) being integrated with the infinite springs of the Orum (Place where the orixás and enchanted ones live). I seek to represent the moment of movement capturing through the achronological temporal axis and from that moment on to tell stories, prospects, reflections and fragments of this - no - place.
My work in the materialization of the works is, precisely, the synthesis of various visual techniques, from sketches and cutouts, to paintings with different shades of tonalization, giving meaning to relief shapes and textures, used to form repercussion scrolls for Camugerê Portals: it’s a hodgepodge of flowcharts. Sketching, most of the time, is the initial tone of creation, because it brings the natural elements and the mythical beings that live outside and inside me. On the other hand, the colors used in the creation process are linked to ancestral eidetic memory, the extrasensory memory. The intention with this mix of possibilities is the search for total freedom of artistic work. When these technical functions are inverted, they create a counterpoint between cosmic/ancestral energy and radiant matter, thus bringing the perspective of a flowchart where the elements complete, contemplate and blend together with each other; dissipating, interconnected.
Works
Cabeçalho 1
Agolonã.
The Work Agolonã portrays the sensitive experience of connecting with consciousness through an ancestral perspective, having as bearers of this knowledge Exu and Exua in their plurality. In this case, the energy that ignited the process was that of an Exua governed by the energy of Oyá, a family entity, that mutually protects my experiences and opens the portal of my perspectives, whether on the controversial side of the comings and goings – due to Exu and Exua’s role as portal guardians, this entity keeps track of the movement occurring between portals – or through the crossroads of everyday life, always in opposition to the status quo.
It leads to an awakening to ancestral life – as part of Exu’s role – and Exu's relationship with the Orixá Iroko (the time Orixá) – a moment that unifies past, present, and future, to the wide range of experiences from the cosmical universe; they are infinite experiences that intertwine in history. At Agolonã, everything rotates, colors invade the places without respecting any sense of institutionality and existence is integrated with the ancestors and their respective elements, reflecting the opportunity where cosmic energies connect with the ancestral heritage in a collective way, it is rite and oracular vision.
*56 x 79 cm. Techniques: Acrylic painting and photo collage.
Camugerê Act 1.
Camugerê is the dive into the horizon of the tide, it is the dreamlike celebration of the experience of existence with its wavering peaks. Camugerê is not a physical place, it’s a state of being, dimensionless, which itself expresses the need to return to an experience guided by the Orixás.
My work here was to conceive a search for the representation of cosmic topography, that is, an analysis of the macroscopic terrain of the cosmos, revealed in the course of the work as a sort of parchment for Camugerê, so it is a sensorial immersion in the embryonic layers and ancestral energetic condensation exposed on screen. Being in Camugerê represents the clusters of varied lives that connect existence to the integral and elemental being, Ori. This catharsis flourishes, internally and externally, evoked by the search for historical reconfiguration, guided by ancestry and the collective need for a reunion with the integrality of life and memory.
What moved me, as a primary challenge, was the possibility of ancestral biointegration (integrity of life with the elementary connection) as a counterpoint to a social structure based on territorial exploitation, genocide and necromemory supported by the concept of infinite accumulation of wealth that generates scarcity of life and of the basis for biointegration, given that the exacerbated consumption overlaps the amount of time that would be required for the regeneration of natural elements and directly affects the dynamics of Axé.
*39 x 59 cm. Techniques: Acrylic painting and photo collage
Mathematical absurdities.
This work arose to represent fragments of the various decodings, non-binary, of energetic flowcharts through the composition of these forces as a reflection, asymmetric, organizational of nature in the "moment" This work arose to represent fragments of the various decodings, non-binary, of energetic flowcharts of ancestral energy through the composition of these forces as a reflection, asymmetric, organizational of nature in the "moment" in which it crosses the source of existence through the Odús (paths of the orixa Orunmila Ifá, the Orixá of the Paths) concatenated and with reference to Gaurav Khana, PhD in Physics and Professor at the University of Massachusetts, who focused on the representation of the black hole as a portal, due to its rotating volatile matter.in which it crosses the source of existence by the odus (paths of the orixa Orunmila Ifá) concatenated and with reference to Gaurav Khana, PhD in physics and professor at the University of Massachusetts, who focused on the representation of the black hole as a portal, due to its rotating volatile matter.
*60 x 90 cm. Techniques: Photo collage, acrylic painting and free drawing.
Ya Omi Act 1.
This work is the result of the relationship with asymmetrical formulations, with the limbo of the secret, with the head of the universe, head of water; Who is the stone?! Ask Ya Omi! Soggy eyes for every time nature doesn't reveal itself in its mystery. Translucent spell, labyrinth without borders, she didn't do it to make you lost, she welcomed and cured you. The lady with her cloak smeared with mist, shallow tide on that immense sandbar,
gave me a marble while I was buying candy at the little shop, a small shack, it was early morning, her miraculous marble eye...
Back to the shores, to the land of dreams, fluorescent green boulder, fountain petals and lavender dotted with lights have all graced my path. Her umbilical cord paints the universe with the most beautiful tones, dismantling what is beautiful in every millisecond of non-time that I try to follow with the soul of my eyes.
What to describe?
What to describe the silence?
Asymmetrical ripples from my ori,
water ripples.
The Staff Lady.
*33 x 44 cm. Techniques: Photo collage, acrylic painting and free drawing.
Zara TEMPO.
The composition 'Zara Tempo', created by my grandfather Batatinha, awakened something in my eyes that made me revere time as a vector/guardian on this trail that points to a path of reunion; throughout this path I was able to observe and interact with the essence of this work in relation to the collective/world.
I went to the heart of its history and navigated through all the details of its melody. The trajectories were like keys that opened specific doors over time. The harmonies found along the way were arrhythmic fragments of existence. This whole epiphany of sensations led me to this work, as to the creation of the entire exhibition. The Zara Tempo composition was the one who gave me scope to represent these path symbologies in the form of symbolic scrolls that unfolded in a sensorial immersion revealed by Exu, who guards the keys and paths of Agolonã.
That's why Zara Tempo represents the impressions that reveal the encounter (Agolonã). Exu in its viscerality forms flowcharts of micellar resonance, pulsing and tracing the path, leading to the axis that connects us to Ori, our Orixá essence, and to the ancestral orbits that map our path. It is the driving force of energy that reflects internally and externally the sound in colors, shapes, textures, infinity within the intervals that drive, Exu movement!
*39 x 59 cm. Technique: Acrylic painting.
Swirl.
It’s a crack of light unto its envelope. It is the distribution of Orunmila's elementary fractals, revealing upon one’s view its projection in the verses and in the ancestral memory on each respective path. One’s subtle look, from the corner of one’s eye, twists around the contour of the mystery compass, sedimented by Iroko, acting in the transgression, in the flow and in overflow in the veins of Exua's gira, a Guardian Battery, which recharges the universe.
*44 x 59 cm. Techniques: Photo collage and acrylic painting.
Paradoxical cosmic engineering.
This work reflects the movement of the Basic Human Sensitive Satellites, Ori (the head Orixá; the main recipient for energy storage in the human body and soul), in the channeling of the cosmic pulsation with Olodumaré (the Orixá which represents the universe itself) as the essential vector of the elements.
It is about a gradual relationship of decay, modulation, and overload of the satellite (Ori) in detriment of environmental exploitation in the hegemonic and white colonizing society, shaped through the exacerbated growth of industrialization and mechanization of processes. Olodumaré, on the other hand, makes the way back, strengthening the emergence of regeneration and harmonic resonance through the satellites (Ori), allowing the sensitive cap expansion of the universe.
*66 x 94 cm. Techniques: Photo collage, acrylic painting and free drawing.
The dot of feathers.
These are two antagonistic segments in the historical process: the integration with natural elements as a relationship of vital symbiosis with the biosphere, the breasts that nourish the earth through the energies that sway the oracular vision; these are directly integrated with the rites of transmutation and, simultaneously, erected as a counterpoint to colonization that explores and destroys a large part of this same biosphere. The result of this is a problem for the well-being of native peoples and the imminent threat of extermination of all life on the planet.
*40 x 55 cm. Techniques: Acrylic painting, photo collage and sewing with wool.
Imperialist Claustrophobia, the prison of fear!
A stained glass window of feelings in a real scenario of the most diverse oppressions, reflecting this time when fear is the most sensitive touch of the skin, face to face with agony in the midst of a degraded environment and all kinds of diseases produced by economic imperialism (persecution institutional, physical and sensory violence). All the garbage that swallows us feels like a burden, the noise and visual pollution that accompanies us. This is an epitaph for becoming the target of this structure by simply being born and experiencing constant physical and psychosocial vulnerability; it’s a catharsis, an impulse where the driving force is no, no more.
Pointer and the first scroll.
A point traced between consonances and turbulent intersections revealed in cutting LEDs, from flashes to memory. Hooked on running from oneself, mirror and likeness, the forgotten and blissful dream, dreams of Odu. Around the sloping corners, it waters and burns, the color drains and returns to the line.
