The sphere text from Megume and Naoko

The sphere

There they were, almost sonorous, but silent.  Static and in movement towards some secret space.  Restless but sovereign and serene.  The last ones because without lies and easy seductions, without concessions and negotiations with curators, critics and expert readers not elected or fortuitous people interested in society; let alone concessions and negotiations with the most glamorous, but worn out, court.

A commitment solely with the space where art and other knowledge from all disciplines, times and places, both dead and alive, converse in universal communion.

Appearances made visible on firm kraft paper.  Emergences that speak of mysteries from other invisible reigns.

Urgent, swift, but step by step.

Beauty was not the word that best defined what was exciting emotion in us, even though correct, neither were joy or sadness.  Perhaps the word VITAL was paradoxically closer for the author was no longer.  It was homage to the dead mother, painter, which somehow remained in its trajectory,

Powerful paintings with mountains difficult to conquer elected us their observers, Nakao and me, in a room where they were exhibited during the homage.

Impressed, we talked about those works of art that took over the first encounter.  There we were, the three of us, Nadia, Nakao and me, touched by the energy emanating from the pictures.

Somehow they would accompany us during the several encounters and would convince us that the dialogue of Nadia’s ceramics with the vigorous works of her mother’s would be inevitable.  A dialogue between colleagues, artists, peers.

Nadia would say as if to herself:  “How can that be?  I don’t even know how to paint or draw.  My mother is the artist”.  That was not true.

More than the three-dimensionality of the objects, what they evidenced were the surfaces in colors and relieves, true paintings representing sidereal spaces.

The supports were truncated cones, small ceramic canvasses, to be placed either vertically or horizontally over the base of the smaller circle, of about 15 centimeters.  On the larger one, of about 25 to 30 centimeters, the relief painting.  Cracks taken advantage of, seams, glasses, oxides, metals, salts, enamels, which brought joy from the relieves and from the colors in the paintings.

Soon enough spheres similar to celestial bodies arose:  planets, satellites, etc.  Drawings, pictures, relieves over the external surface.

Nadia would say: “I like them because there are no sides above or below, as if they were bodies in a dynamic balance, moving towards all directions”.

In the following phase, the sphere was severed, sometimes it was squashed, and the internal work was as expressive and dense as the external one, or even more.  Diverse materials, practically anything you can think of, were incorporated, where as the spaces already? Adequate were preserved:  Glass splinters, pieces of metal, shavings, wood, plastics, sponges, glass fibers, other forms of plants such as towel gourds, either dipped, or not, into clay solutions, stones of different colors and shapes, several minerals, bones, salts, enamels, oxides, etc.

Encounters, fusions, symbioses of forms and matter, colors and spaces, in a dialectics within and without.  All sorts of oxidations, chemical and organic reactions, some expected, others unpredictable, accidents radically provoked, running the risk of partial or total loss, in a construction-destruction-reconstruction movement and vice-versa. Alchemic paroxysm of body and spirit, light and darkness, inside and outside, far from being an exoticism.

As a consequence of that bridge or door, inside or outside, the transparency and the translucency were desired.  A desire to spy within.  The objects were pared down to a minimum thickness; also fluxes, or light clay, were added such as feldspar, bone ashes, and enamels. The sculpture-objects breathed.

The process was the end, and the result, the record.  Each object was like a photogram from a long film.  The end of a project was the beginning of a new one.

Even though it was a Record, a photogram or the continuity of the process, each object was definitive, had its own autonomy, its identity.

The unforeseen events and accidents constructed a powerful poetic intuition and offered new pleasures.  One of them was to expect the unexpected.

Nadia’s sculptures-objects elect the spectator, as the emergent chooses the observer that will give meaning, and require from him/her a new perspective, a savoring of new sensations.

The life experiences outside the artistic action itself, such as family life, working at the Legislative Assembly, one’s education as a psychologist, friends, overall affective life, sports (rally), trips, loneliness, sickness, pain, joy, an urge to live, despair, faith, conversations with the living and the dead, all of these navigate together in the poetics of Nadia, without strangeness, as parts of the raw material of her creation.

Everything is intertwined and blended in poetic creation.  Its stage presents metaphors already lived.  Now the object elects life, then life chooses art to express itself.  Now as a symbol, then as a more direct expression of material imagination.

There is anxiety, urgency, a want for speed, chaos and trampling, an urge to live, congestions.  Nevertheless, the sense and the direction obtained by faith and intuition that perceives farther one are preserved.

The sculpture-objects have reached the maximum expressive density of the moment and frighten the majority of spectators.  They are like beings in convulsion.  They breath, move towards unknown secret spaces.  They chemically react inside and outside the furnace, leaving behind dry residues scattered on its bases, as if they were secretions.  Salts and oxides, acids and gases transmute their appearances.

They are alive as if expressing Nadia’s very pressing urge for life.  Nothing illustrative, life and work intertwined without losing each one’s identity.  A third personage is born, which expresses mysteries from the invisible.

The artist rules, chooses to accept or to reject, to go further or to retreat from time and place, the object of desire.

More than a research, an essay or experiment, it was found to be, as would say Picasso, an Encounter, more than a quest.

They are no longer representations.  They are autonomous existences, matchless identities.  The objects create their own reality, no longer clinging themselves to themes.  Emergent, they are, they simply exist.

There is serenity because chaos, little by little, organizes itself in poetry.  Creation has liberated art from excess, from the discomfort of multiplicity, of anxiety. It’s a time for synthesis, for enjoying the fruits of knowledge.  Speed is greater!

A speed for taking a flight towards new poetic daydreaming and ventures; a flight as high as the powerful mountains.  Pictures of her mother, as colleagues, as equal and different.

Perhaps the difficulty in reading Nadia’s sculpture-objects is less in the radicalism of material imagination and its apparently disordered and chaotic use, which lend expressive and dramatic features to the objects, than in the mirror effect in which the reader’s vital drama appears in view of the artist’s life experience.  As mentioned before, the reader will have to oscillate according to the dance and rhythm of the sculpture-object and avoid academic or technical readings that are so common among ceramists and artists.

Nadia has made every effort to remove the veils that impede the transparency, or at least the translucency, of her interior, so as to entirely reveal her soul, without sides, or from all sides, as in a sphere.

More than all of the admiration adjectives or victories, the word VITAL, as in the work of her mother, is accepted as part of an undeniable reality of universal dialogue and communion.

A warrior navigating “over seas never before navigated” invites whosoever is interested, before anything else, towards new attitudes in view of the matter and of the world.

Naoko and Megume
Itu, hot summer of 2006.

P. S.
Nadia’s work has elected an observer (Julinho) in the crowd.  A refined look and a brave expression, lapidated by existence itself, is an ethical testimony.  A vigorous text on understanding, generosity, affection and faith, along with Nadia’s sculpture-object, definitely walks towards infinite space, without prejudices, or previously established objectives where  they share the same knowledge from different disciplines, diverse creations, in an uninterrupted and universal dialogue.

A three-dimensional text and piece of work, the author and the testimony, the emergence and the observer, all of them intimate in the secret space as parts of a whole.

Atêlie Matéria da Terra (Earth’s Material Studio) Sculptures and Ceramics - cel.: +55 11 9915 9910
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