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Julia Masvernat_dibujos involuntarios_#1

ARTISTS

JULIA MASVERNAT

1973, Buenos Aires,  Argentina

04-Julia Masvernat_Suspender la tierra f

JULIA MASVERNAT

WORK

prolongacion ondas

PROPAGATION OF SEISMIC WAVES

I venture a warped and jumbled geometry, born of observation of urban "landforms": melted pavements, tangled cables, twisted irons, and so forth.
. . . . . . . . . . . . . . . . . . . . . . . . .

Art resides in that gaze—prior image that comes into focus when Julia finds the remains that suit her and translates them for us.
Sharp as a pencil, as a scalpel, that gaze examines and replicates the shapes of those remains.
Her work quiets time, the time it took those pieces —part of a construction, of a destruction, pieces scattered awaiting sublimation, spoil-works—to reach her, for them to stop and delight.
Art’s preferred situation.
Alchemy.
Julia’s work suggests seismography; she likes the idea of being a seismograph, of being a medium for those traces, and of her work coming to her complete.
(....)
Juan José Cambre
June 2019

INVOLUNTARY DRAWINGS

Dib Involuntarios

Involuntary drawings
(2016-2018)

They say “geometry calms” because it helps us to understand and translate, to organize and balance the world. In my work, I venture an unsettling and contorted geometry. The “Involuntary Drawings” series emerges from close observation of urban landforms”: melted pavements, tangles of wires and plants, twisted irons, and other phenomena. These situations, with their grotesque mutant nature and manifestly fragile materials, feed the imaginary that underlies this series of  “non-paintings”.  Acrylic on paper cut with scalpel.
 

SUSPEND THE FIRM EARTH UNDER YOUR FEET

suspender la tierra

Suspending the firm ground under their feet (2016)

Acrylic on laser- cut fiberboard.

These images arise from a series of photographs of spaces in the city and on its outskirts, from close observation of marginal places, demolitions, construction sites, and abandoned buildings.  Images of materials (iron, wood, debris, holes, gaps, glass, and scaffolding) at a fleeting moment during a process of transformation.

This project was exhibited at the Buenos Aires Museum of Contemporary Art in 2016. Curator: Mariana Rodríguez Iglesias.

THE PAINT BONE

hueso pintura

Painting´s Bones
(2018-2020)
Acrylic on laser-cut fiberboard

My search begins with the observation of my own habitat: the inconstant, oppressive, and fascinating urban space. Where do we place our body? I start working from the marks and debris, the imprint of what is consumed: the bones of language and the ambiguity of signs. When does writing became drawing and drawing writing? I search those places with diffuse borders: the broken structure of things. I rehearse a warped and jumbled geometry, that arises from the observation of urban "landforms". These situations, where mutant nature and the fragility of materials is shown in a grotesque way, feeds the imaginary with which I develop this series of bone-painting. 
 

04-Julia Masvernat_Suspender la tierra f
Exhibicones

JULIA MASVERNAT

EXHIBITIONS

22.6.19 - 27.7.19 

Propagation of seismic waves.

Curator:  Juan Jose Cambre

Your own body a seismograph

that captures beauty like nobody else

of the underground swell,

the patient construction

of the fault.

Claudia massin

 

 

Disorder is essential for "creation",

while it is defined by a certain "order".

Paul Valery

 

 

I work from the marks and rubble, the imprint of what has been consumed. I look for those places with fuzzy edges, where the waters mix: the sweet sea. I test a deformed and jumbled geometry, which arises from the observation of urban “geographical accidents”: melted pavements, tangled cables, twisted iron and others.

 

Start point:

It is nothing new, they are remnants of demolition.

. . . . . . . . . . . . . . . . . . . . . . . . .

Art is contained in that gaze, a previous image that comes into focus when Julia finds the remains that match her and translates them for us.

That look that, like a sharp pencil, like a scalpel, reviews and replicates the shapes of those residues.

His work keeps time silent, the time it took for those pieces that were part of a construction, of a destruction and that are scattered, waiting for their sublimation, dispossession-work; brake - delight.

Favorite Situation of Art.

Alchemy.

Julia refers to seismography, she likes the idea of being the seismograph, that her work is done,

be a medium of those traces.

Traces,

raw material of his art.

Maybe as original support.

The definitive support comes next: paper, wood and that sharp look - it's already a scalpel or a saw.

Color - it happens.

And so and everything, with that imperious explanation of the discovery of the motive and the mediumistic and laborious process presented and present, thanks to his art this secret - clandestine scoop appears.

 

 

Juan Jose Cambre