Gomide&Co presents CELESTE, Luiza Crosman's first solo exhibition in a commercial gallery. Scheduled to open on August 13th, from 11am to 5pm, the show temporarily takes over the gallery's new venue, at Avenida Paulista, 2644. Conceived amidst reformation, it seeks to establish a relationship between the ongoing and infrastructural nature of Luiza Crosman's work and the genesis of an environment that is in transit. The official inauguration of the new Gomide&Co headquarters is scheduled for December 2022.
The still unconfigured space provided the artist freedom of organization of the gallery's limits. In this way, Luiza Crosman engages in a subversive experience of the space, which in the upcoming months will assume further configurations. The occupation occurs expansively and, organized by different series of works, proposes interdependent ecosystems but is still capable of autonomous narratives.
The central installation assembles fabrics printed with drawings, embroidery, paintings, and objects. The fragments of the installation relate directly to the raw material — the drawing —, but take on different scales and dimensions, inviting the audience to enter it. It is also through fabric prints that her creative process can be set: the presentation of CELESTE, a fictitious planet that, as a still unknown place, reflects the human desire for visual imagery, its approximations, and distances. Therefore, CELESTE, is the materialization of a conceptual vocabulary in territory.
The exhibition also presents a series of works started in 2018 in which drawing is used as a tool to translate everyday data. Composed of graphics, curves, arrows, and diagrams, they investigate the naturalization of the established visualization models of the world. Her transdisciplinarity is evidenced by the manipulation of drawing, scientific vocabulary, and the incorporation of artificial intelligence techniques and the digital field as a support for her investigations. The series of works unfold on these epistemic distributions, making visible what is not visible and comprehensible what is not figurative.
About her practice, Luiza Crosman adds: "Several elements are repeated in my drawings. The diagrammatic information carries data, but it is not figurative information, so these elements are in an ambiguous territory, being a territory of the contemporary world, of how we access certain information."
Such characteristics can be observed in the Drawing Logistics series. By incorporating materials in circulation such as paper and plastic packaging, Luiza Crosman presents an inventory of noises and interferences, a systematic record of the different processes that cross and mediate human activity nowadays. Once again, the use of drawing can both trace an existing logic and speculate a future path, an abstract system. In a second reading, 'drawing' can mean a drawing but also the gesture of drawing. A project, or to project something.
In the series A Vidente [The Seer], the imagery constructed from images captured by satellites reveals the relationship between technology and the human desire for prediction. It is through these tools that our cognition can be amplified, and while they are bound to a predetermined functionality, they also inscribe a certain way of reading information. The UV prints on iron and adhesive vinyl are a testimony to this machinic conjecture. The figure of the seer or fortune-teller is "endowed with the faculty of predicting the future". Like satellites, they collect data and deliver a type of speculative information, organizing different elements within human terminology.
Lastly, it is possible to affirm that in CELESTE, Luiza Crosman presents not only an exhibition, but an ambiance, which, through various materialities and visualities, subverts traditional data. The redistribution of this visual vocabulary finds in her images a reservoir of gestures and processes. An agreement about everything that already was, and a premonition about everything that will come.