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1.The Social Life of Visible Things
In most stories, or epic poems, action is what accumulates at the tip of an arrow as it crosses space. If we cover the arrow’s tip with a sheet, we see that it barely captures the details of the scenes it traverses. Instead, the visual is woven into that covered tip with the speed and precision required by the narrative. Upon removing the sheet from the arrow, this is what we find: at the center, a sequence of images can be seen drawn, but most of it consists of voids untouched by action—abrupt patches of unpainted fabric where the density of events didn’t roll
through. Unfolding the sheet disrupts the narrative woven by the arrow—or rather, it unveils it. The blank spaces are evidence of possible subplots or even the direct impact of objects. Without abandoning the impressions left by the arrow, Claudia Rebeca Lorenzo completes the unpainted parts of the sheet. She returns to the scenes the arrow passed through, not so much to offer…
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Press Release
1.The Social Life of Visible Things
In most stories, or epic poems, action is what accumulates at the tip of an arrow as it crosses space. If we cover the arrow’s tip with a sheet, we see that it barely captures the details of the scenes it traverses. Instead, the visual is woven into that covered tip with the speed and precision required by the narrative. Upon removing the sheet from the arrow, this is what we find: at the center, a sequence of images can be seen drawn, but most of it consists of voids untouched by action—abrupt patches of unpainted fabric where the density of events didn’t roll
through. Unfolding the sheet disrupts the narrative woven by the arrow—or rather, it unveils it. The blank spaces are evidence of possible subplots or even the direct impact of objects. Without abandoning the impressions left by the arrow, Claudia Rebeca Lorenzo completes the unpainted parts of the sheet. She returns to the scenes the arrow passed through, not so much to offer…
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