Carolina Echeverri’s Alchemy
You have to look close. And then closer again. Carolina Echeverri’s photographs are tactile, displaying objects that you want to touch – to feel. You have to use your senses. I think one of the best ways to look at the photographs is really to imagine you are close to what you are seeing. Like a fleeing memory, highly emotional and abstract. The horse, the sea, a leaf, a sculpture is transformed and distorted into objects well-known to you but now new and strange.
I’ve seen Carolina take thousands of photographs, walking through the woods to find an exact spot in the forest, the exact tree and then she waits. The waiting is due to the light as the equipment and the process of pin-hole photography depends so highly on light. Once the trigger is pulled the sun and chemistry set of in the little black box. It can take 5 minutes or 45 minutes depending on time, season and the occasional cloud passing by, blocking the sun. All those factors are in the photograph. With the polaroid camera (Carolina’s most modern equipement) Carolina documents sculptures, nature, family and moments. These are later transformed into negatives and then onto larger photo paper in the darkroom. Later tinted with paint – the transformation is nearing a completion if there even is one in her process.
So what do we have here? I have to think of alchemy. Carolina collects fragments of what is plain to see for everyone – mixes, purifies it and transforms it into something organic yet alien to the eye. We are left with an idea, a story and a visual example of time, weather, subject and human emotion. Looking at these photographs you need your sixth sense and your alchemy. Collect and store them like memories.
TRBL Projects are happy to release an artbook with Carolina Echeverri the 29th of March.
Everyone is welcome the 29th where Carolina Echeverri will show new works at TRBL Projects.
During the summer of 2017 I spoke to Mical on the phone as I very often do. He was getting very interested in stars, the moon and in general the whole solar system. He had purchased a telescope and was now photographing the moon on a daily basis. He researched what lenses were best, camera techniques and the patterns of craters on the surface of the Moon.
Fast forward a year to the warm of summer of 2018 I was again chatting with Mical on the phone as he was lost in some Berlin suburb trying to locate a man who was going to sell him RAM for a computer. Mical was building his own computer from scratch. Not as a hobby but as a tool for making art. Mical ended up building three computers, very fast, very cheap and probably way less expensive than your average Mac.
You see Mical really likes to make things or rather learn how to make them. Sometimes out of necessity but often just because the art requires some sort of tool. He then makes up an excuse to invent the tool that the art requires just like the computer that he uses for his 3D animations. It’s in that process, the finding of RAM in the suburbs that all the paintings happen. I write “happen” because looking at how Mical works, the art has to kind of just happen before he is happy with it. I never seen Mical “get to work” and he has no taste for labouring out a painting. Instead he works on everything around it, slowly circling around the painting until it just happens. I mean he even melted the stubs of his crayons to make new ones studying how crayons were made. All those marks for testing these kitchen-made crayons are probably somewhere on the vast collection of drawings from 2017. The drawings are also full of notes of science reports he is reading, crime investigations, comments lifted from star gazing forums, murder riddles and Greek mythology all swept up in obsessive mark-making.
Mical has a few favourite titles he has used for several works over the years. One of them is “One of Many”. Over the years the meaning of this repeated title has gotten heavier, more meaningful and more poisonous. Mical Noelson is always building a factory, making tools and machinery, and what we get to see is art that carry all the marks of these rapid chaotic expansions into new areas of interest. Details such as the repeated dark red edges of the paper that runs through most of the drawings from 2016/17 were lifted from a childhood memory of reading the bible in church. It is an interesting takeaway from one of the most mass-produced items ever. The dirt, the off-whiteness of the paper, the calculated accidents removes all notions of newness. Mical’s works are glimpses into process. Modern life distilled - produced – investigated. One-man factory life at it’s best.
TRBL Projects are happy to release an artbook with Mical Noelson the 29th of November.
Everyone is welcome the 29th 17-21.00 where Mical Noelson will show new works at TRBL Projects.
More of Mical’s work here www.micalnoelson.com