{"id":23709,"date":"2016-04-16T20:30:12","date_gmt":"2016-04-17T02:30:12","guid":{"rendered":"http:\/\/www.sofiaecheverri.com\/en\/?p=23709"},"modified":"2020-10-07T18:08:07","modified_gmt":"2020-10-08T00:08:07","slug":"spheres-and-female-executioners","status":"publish","type":"post","link":"https:\/\/www.sofiaecheverri.com\/en\/spheres-and-female-executioners\/","title":{"rendered":"spheres and female executioners"},"content":{"rendered":"

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Pencil, pigments, papers and an industrial display of acrylic; attraction, light and color.  <\/span>Meticulously, Sof\u00eda Echeverri applies multiple pantone colors to indiscernible, blurred places\u2014places that have lost all colorfulness and illusion.  <\/span>Materiality utilized, color and chiaroscuro in contrast like musical notes of a hidden madrigal.  <\/span>A formation of constellations of colorful circles that, combined, permit us to see the music.  <\/span>Also, the images in pencil interrupted by carbon fields keep us from seeing the faces.  <\/span>Her pieces are synesthesias.  <\/span>Synesthesia built with the goal of unsettling the viewer in its\/his\/her aesthetic journey, completed at the moment of contemplation, a result of long, pleasant hours of action and productive reflection, habitable outside of time.  <\/span>The time of the creation of a hedonistic work.<\/p>\n

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In its forms, thought is not separated from the body that contains it; the sensations that the material evoke are, at once, body and mind.  <\/span>In the words of Michel Onfray, reason is corporal.  <\/span>The  <\/span>journey is completed in a phronesis, in thought and emotion united, working in unison like a censorial emitter\u2014rational, and provoking the discovery of an enigma, the enigma of the female<\/i> executioner.  <\/span>Why are the executioners girls?  <\/span>The first sensation is a vibration of anguish, upon seeing the young ladies who’s hidden faces are perceived, in a dramatic turn, as faces of victims.  <\/span>However, a second sensation, that of reserve, allows us to see that it is they that have been covered with a sadistic halo.  <\/span>The girl, in her coming of age, looks to do damage…Or is it the the other way around?  <\/span>The girl is covered so that she cannot be perceived in a world of celibate machines, eager to satisfy their desires, assassins of their surrounding cartography and of their spherical spaces.  <\/span>Understanding human behavior with regards to the woman is expressed in a critical way in the work of Sof\u00eda Echeverri.  <\/span>Be it as it may, in any case the phonic<\/em> experience, the one that uses emotion and reason in once instance, manifests in the life lesson of the viewer before the piece; it involves ambiguous feelings that uncover a pure optic image: one of violence from infancy; a feeling of division during this contemplative phronesis, the commotion of an masochist image.  <\/span>The girls all come from the historical memory of art; some were born in a Degas or Ingres painting and others came from a Picasso fantasy or the imagination of Hokusai.  <\/span>Appropriated, isolated from their context, the girls do not want to see anymore; they are converted into visual torture.  <\/span>They do not want to see that they themselves are part of a sphere: a sphere of patriarchal power.<\/p>\n

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This work is an enigmatic crease in which women, as objects of complacency for men, stir up a microscopic political order and break with, by way of intervention in the reproduced image of the unhistorical character, the sphere of patriarchal power.  <\/span>The work contains dynamic journeys that, like a map, are accessible: The circular forms where they are framed manifest a precise representation of the unframeable, of time that endures.  <\/span>The situation of extinction of the human race, the enigma of self-annihilation by the degradation of vital spaces…the girls, fortune-tellers of the maze of the time of art, do not want to see the truth hidden any longer.  <\/span>The representation of power in a sphere, a series of spheres that looks to be unending, that looks to break the outline of the so-called perfect form, spherical manipulation that goes against and breaks the formation of an irregular symbolic constellation.  <\/span>The orderly form is composed of\/repairs itself in disorderly stages.  <\/span>What is seen is heard.  <\/span>There is no order; the violence in the girls is only chaos.  <\/span>Girls becoming women happens out of sight; it happens with blind violence, in solitude.  <\/span>The complicity: Are we converting our young women into accomplices of the violence of our patriarchal society?  <\/span>Time, a circle, the eternal return\/U-turn.  <\/span>A symbolic perceptual constellation of conceptual worlds, of a humanity conceived as a plague.<\/p>\n

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The work of Echeverri evidences the empty discourse, the rhetorical hoax of the emancipation of women in post-modernity. The falseness and the simulation represented in spheres of color that, attractive, disappoint.  <\/span>The female executioner is a symbol of nostalgia and melancholy.  <\/span>A visual requiem of the animal.  <\/span>The artist looks to make the spectators creative; she creates areas of indeterminacy in the aesthetic experience.  <\/span>Acataleptic confusions, ambiguous sensations that abandon their own judgment of value, and permit tranquility in the spectator who freely finds the enigma in the work.  <\/span>The work itself, the experience with its nature and the reflection of its symbolic contents produce a metaphysical integration that reconciles reason and feeling.  <\/span>The enjoyment, arising from relationships between the doer and the spectator, comes about from an event.  <\/span>An event that transfigures in the moment that an encounter occurs with the immanence of the material.  <\/span>The material level of the work of Sof\u00eda Echeverri permits us to contemplate the reflection about the coming-of-age women, making a participant of the community that interacts in the expository social space.<\/p>\n

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\u2014 alejandro sordo guzm\u00e1n<\/h3>\n

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“Why are the executioners girls? The first sensation is a vibration of anguish, upon seeing the young ladies who’s hidden faces are perceived, in a dramatic turn, as faces of victims.” \u2014 Alejandro Sordo Guzm\u00e1n<\/em><\/strong><\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[114,1],"tags":[],"class_list":["post-23709","post","type-post","status-publish","format-standard","hentry","category-text","category-uncategorized"],"_links":{"self":[{"href":"https:\/\/www.sofiaecheverri.com\/en\/wp-json\/wp\/v2\/posts\/23709","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.sofiaecheverri.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.sofiaecheverri.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.sofiaecheverri.com\/en\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.sofiaecheverri.com\/en\/wp-json\/wp\/v2\/comments?post=23709"}],"version-history":[{"count":5,"href":"https:\/\/www.sofiaecheverri.com\/en\/wp-json\/wp\/v2\/posts\/23709\/revisions"}],"predecessor-version":[{"id":24633,"href":"https:\/\/www.sofiaecheverri.com\/en\/wp-json\/wp\/v2\/posts\/23709\/revisions\/24633"}],"wp:attachment":[{"href":"https:\/\/www.sofiaecheverri.com\/en\/wp-json\/wp\/v2\/media?parent=23709"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.sofiaecheverri.com\/en\/wp-json\/wp\/v2\/categories?post=23709"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.sofiaecheverri.com\/en\/wp-json\/wp\/v2\/tags?post=23709"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}