Laura Vinci No ar, 2011

Made up of three parts suggested by the architectural structure of the gallery itself Nara Roesler. 

In the large room, on a raised white marble floor, an indoor version of No ar. In the centre, a cut-out in bas-relief where the artist installed an irrigation system that produces cold vapour from time to time. Two heavy curtains of metal wire placed at the entrance, a threshold of reduced size. The curtains serve to protect the room, leaving the place more secluded and quiet. More than anything else, says Laura Vinci, the curtains have the function of touching our body with their weight, alerting us to the experience of a body that sees.

In the street-facing window is a work that is difficult to document, entitled Noturna. On the inner wall of the window, a drawing traces the shadow of a tree planted outside the gallery, lit by street lamps and shops on the street. Since the tree, with its leaves and branches, moves continuously in the wind, the shadow and the sticker sometimes coincide and sometimes do not, producing the oscillating effect of another drawing, the result of moving overlaps. On the floor are three brass pieces from the series Reels.

The central hall shows the series Toda hora passa. These are large-format framed sheets, original prints from incised metal plates with images taken from the artist's sketchbooks.

Technique: Intaglio printing
Format: 80 × 120 cm
Paper: Hahnemühle white 300g
Inks: Charbonnel black
Edition: ten copies numbered 1 to 10 in Arabic numerals
Printer: Daniela Lorenzi assisted by Kaloan Meenochite

Particular features: these are preparatory sketches for the installation drawn by the artist and transferred with electrical-circuit varnishes, by screen printing, onto brass plates. The metal thus prepared was etched and worked with successive aquatint stages to obtain deep, strongly bitten black marks.
The plates were prepared and bitten directly in the artist's studio. The printing was done at the Duttler atelier in São Paulo, SP Brazil.