The Zielinsky gallery hosts the first exhibition in the State of Shirley Paes Leme

May 11 at 7 p.m. the Zielinsky gallery presents the exhibition Remains of the Days of Shirley Paes Leme. The show is the first individual exhibition of the Brazilian artist in the State and brings together a series of bronze sculptures and installations produced in recent years.

Since the 1970s, the artist has produced works in a variety of media, including installation, video, drawing, painting, sculpture and works in public spaces. Over the years, the artist has been interested in the trail of fleeting and fluid matter, such as smoke, light, soot, gunpowder, blood, pollen and fungi.

For the Vestigis dels die exhibition, the word is the fleeting matter, which is captured by the artist through writing and then turned into sculpture. When these words materialize in bronze, the artist gives them an embodied body, using a component that weaves a desire for permanence over time: bronze, determining in the History of sculpture. In the exhibition, four pieces-installations are present: a series of sculptures of proper names that are summoned to be, on the one hand, nouns used to designate people identified with the female gender and, on the other hand, a poetic bridge to other semantics – Star, Aurora, Pillar, Sun, Soul, Light.

In another part of the gallery, sentences and words descend from the ceiling towards the exhibition space, the artist turns to literature and takes from the writing itself, and from other authors such as Clarice Lispector, poetic fragments in English and Portuguese (mother tongue of Paes Leme) loaded with a sublime dimensional sense – You poured stars on my way; O instant is a living seed. Finally, Garranchos, a set of bronze poles that compose, by means of scribbles, an enigmatic writing of a non-rational order, and Viure disconcerta, an installation made up of a reflective pavement in which the viewer is a participant, are exhibited of a script executed in the space. The image of this walking body multiplies next to the walls and the statement that confesses that living is a way of undoing order.