Many will perhaps believe that I undertook so long a journey from vanity. I can only say in answer to this—whoever thinks so should make such a trip himself, in order to gain the conviction, that nothing but a natural wish for travel, a boundless desire of acquiring knowledge, could ever enable a person to overcome the hardships, privations, and dangers to which I have been exposed.
IDA PFEIFFER
Looking at the landscape from above has always been an excuse for me to move and get to know new territories and cultures. I like the idea of being able to see the elevations of the land and its changes in tonality along its expansive presence. The landscape becomes a large horizontal platform contained by a sinuous line that separates the material realm that we denominate earth and another, more ethereal or gaseous that we call air.
Remembering the words of Ida Pfeiffer, an Austrian explorer from the 19th Century and her valiant interest in the landscape, my intention is equally peculiar. I have tried to chase that primary line called horizon being aware that the line embraces me when I occupy the space and defines the geographical place as a temporary territory that I have come to experience.
My wish to interpret this experience in Uluru and Kata Tjuta is documented by the recollection of photographical fragments of the Australian landscape, observing and classifying them. From these images, I create sculptural objects that evoke memories capable of narrating sensations, textures and vibrations.
Photography becomes the strategy to capture reality. I establish limits that frame the landscape defining the idea of territory. Within this order of ideas I firstly question the capacity of photography to reconstruct a geographical space and if it can relay the intensity of the landscape. Secondly, are the sculptural objects and their placement within a gallery able to transmit my experiences in the Central Desert? And finally, will the visitors, endowed with their own memories, be able to reconstruct an imaginary yet intriguing and distant place?
Rosario Lopez, Canberra 2016.
IDA PFEIFFER
Looking at the landscape from above has always been an excuse for me to move and get to know new territories and cultures. I like the idea of being able to see the elevations of the land and its changes in tonality along its expansive presence. The landscape becomes a large horizontal platform contained by a sinuous line that separates the material realm that we denominate earth and another, more ethereal or gaseous that we call air.
Remembering the words of Ida Pfeiffer, an Austrian explorer from the 19th Century and her valiant interest in the landscape, my intention is equally peculiar. I have tried to chase that primary line called horizon being aware that the line embraces me when I occupy the space and defines the geographical place as a temporary territory that I have come to experience.
My wish to interpret this experience in Uluru and Kata Tjuta is documented by the recollection of photographical fragments of the Australian landscape, observing and classifying them. From these images, I create sculptural objects that evoke memories capable of narrating sensations, textures and vibrations.
Photography becomes the strategy to capture reality. I establish limits that frame the landscape defining the idea of territory. Within this order of ideas I firstly question the capacity of photography to reconstruct a geographical space and if it can relay the intensity of the landscape. Secondly, are the sculptural objects and their placement within a gallery able to transmit my experiences in the Central Desert? And finally, will the visitors, endowed with their own memories, be able to reconstruct an imaginary yet intriguing and distant place?
Rosario Lopez, Canberra 2016.