The body is not a vessel, but only a liminal reference. We wish to leave it. Drugs, spiritual experiences, vicarious fantasy, ecstatic states - we enact a multitude of practices to negate its reference. The absent gas of a neon tube, the spatially displaced narrative of a car windshield, and the formally resistant presence of a gradient, evoke a multiplicity of dimension in concert. Wassily Kandinsky’s philosophical treatise Point and Line to Plane is recalled, but through our corporeal perspective. The brown and yellow monochrome casts remind us of what was, is, and will be bodily part of us. Fernandez creates her photograms in complete darkness, without aide of a safelight. Her motions and arrangements a deft balance of intention and intuition, manipulating artifacts of our dying modernity. The neolithic act of cave painting might be comparable, miles into the utter darkness of the earth, to subsume the essence of great beasts that sustain us. The prehistoric urge to document comes from darkness, because from nothing comes the urge to exist. The primordial symbol of the snake references its own perpetual documentation of its body, leaving us the sublimation from itself. Tatiana Echeverri Fernandez "Bones And Bloodlines To Space" in on view now at Museum as Retail Space (MaRS) gallery In Los Angeles. text by Robert Zin Stark. photographs by Oliver Maxwell Kupper
