No Limits / série MERGULHO
Here, I will narrate two experiences:
I paint a canvas. A canvas that is larger than me… in which I can ‘fit’ enough to feel as if diving in this space created with the ink. I paint the background in matte black, letting stretches and flaws scape on the contact process between paint and canvas, to, at least, feel that there is some connection with the material being manipulated. As an empty window-door, a world with no objects, with no saturation of images and objects, black becomes the hole, the abyss. Successively, I start to apply fluid and transparent layers of blue paint, as glazes, filling that space with light, color and water, as if a mysterious transparency emerging from the depth of the ocean in this return to the surface.
I see a canvas. It is large enough to hold me in front of it, demanding apprehension by sight and body. It is dark and gloom, it makes me silent. Little by little, my sight is conduced to lighter areas where the blue emerges, and what seemed to be a surface at a glance, shows a subtle depth, on the frontal plan displacement as well as the displacement guided by the reading sense. Not only my sight wanders around the two-dimensional space, but my body also wishes (in vain) to explore this depth and luminosity that breaks the pretense darkness.
Both experiences – the artist’s and the spectator’s – are internal deep displacements, a mirror with no immediate reflexes in a pictorial space that leans towards the uncertain and the abstract. These are lonely experiences, that call for silence and meditation, where the painting becomes a passage for the emersion by the artist and immersion by the spectator.
Between visible and invisible, the visual experience in the painting by Sonia Wysard moving between darkness and luminosity of color, grants the opportunity of deeply penetrating in an intimate and obscure space of personal perception and subjectivity.
