{"id":21344,"date":"2020-05-20T11:41:32","date_gmt":"2020-05-20T11:41:32","guid":{"rendered":"https:\/\/florenciatemperley.com\/?page_id=21344"},"modified":"2024-10-30T14:59:53","modified_gmt":"2024-10-30T14:59:53","slug":"textos","status":"publish","type":"page","link":"https:\/\/florenciatemperley.com\/en\/textos\/","title":{"rendered":"About"},"content":{"rendered":"
Texto de artista<\/h5>STATEMENT
Declaraci\u00f3n de artista. 2024<\/span>

Florencia crea fotograf\u00edas, objetos e instalaciones que integran situaciones naturales con elementos que ella misma construye. A trav\u00e9s de los escenarios que propone, guiada por una b\u00fasqueda filos\u00f3fica, invita al espectador a la reflexi\u00f3n, abriendo posibilidades para replantear nuestra percepci\u00f3n y cuestionarse qu\u00e9 es lo ‘real’: lo que otro me muestra, lo que el sistema intenta imponer, o lo aut\u00e9ntico, aquello que atraviesa el cuerpo. A trav\u00e9s de la uni\u00f3n de lo natural y lo artificial, sus obras funcionan como met\u00e1foras visuales. Observa el mundo humano y natural, lo cuestiona a trav\u00e9s del arte, con una mirada desde el afecto como acto de resistencia.<\/span><\/i><\/p>\n

Crea objetos a partir de maderas recuperadas o elementos industriales, los fotograf\u00eda y luego transforma esas im\u00e1genes mediante un proceso h\u00edbrido manual-digital, convirtiendo los montajes en composiciones in\u00e9ditas. Reproduce espacios naturales y los interviene digitalmente con elementos construidos por ella de forma real o digital; utiliza habitaciones blancas como marco visual para recortar una idea y tambi\u00e9n trabajar las ideas de encierro y control.\u00a0 En su obra, los elementos se transforman, las sombras no responden a la luz real y emerge algo entre lo que es y lo que se percibe, insinuando m\u00e1s all\u00e1 de la representaci\u00f3n concreta. Los cielos grises y nubosos que incorpora son cielos de introspecci\u00f3n, de incertidumbre, en un estado de suspensi\u00f3n. En sus objetos e instalaciones convierte la tierra en un soporte de la palabra, en una tecla de computadora para hablar del control, en un sost\u00e9n inerte de la posibilidad de la vida. Su obra invita a acercarse, a encontrarse con un lenguaje visual cercano, donde su propia mirada del mundo intenta provocar a la mirada del otro.\u00a0<\/span><\/p>\n

Florencia desarrolla su obra art\u00edstica desde un enfoque marcado por cuestionamientos sociol\u00f3gicos y filos\u00f3ficos. Su creaci\u00f3n de fotomontajes, poemas y objetos surge de una necesidad de confrontar esa incomodidad interna frente a los modos de vida contempor\u00e1neos, nuestras relaciones con el sistema en el que estamos inmersos y las consecuencias de nuestras decisiones, encapsulando as\u00ed la complejidad de la experiencia humana. Su proceso creativo est\u00e1 intr\u00ednsecamente ligado a la reflexi\u00f3n sobre la realidad y a sus lecturas filos\u00f3ficas, en un intento de encontrar respuestas \u2014o nuevas preguntas\u2014 a trav\u00e9s de la materializaci\u00f3n de una fotograf\u00eda, un objeto, un poema o una instalaci\u00f3n.<\/span><\/p>\n

Estas im\u00e1genes act\u00faan como met\u00e1foras visuales que esconden y revelan detalles, poniendo en duda tanto lo visible como lo que creemos entender de la realidad.<\/span><\/p>\n



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Curatorial text<\/h5>PASAJE 17
Group show, Pasaje 17 Gallery, Buenos Aires.\nNovember 2012<\/span>

\u2026\u201dFlorencia\u2019s art pieces refer, from different languages and shades, to imaginary points of contact between our bodies and the living elements of nature. On the one hand, the product offering seems ironic: wouldn't an herbal pie, a fish perfume, be \"disgusting\"? On the other hand, it also drives utopian thought, a world of relationships where the human being is part, and not just the center, of a new poetic ecosystem.\u201d\u2026<\/p>\n

Valeria Gonz\u00e1lez<\/p>\n<\/div>

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Curatorial text<\/h5>ESPACIOS
Solo show, Light Festival (Galer\u00eda Aldo de Sousa), Buenos Aires\nJuly 2010<\/span>

In the current art scene, it is common to meet young artists and others who are not so much, who upon perceiving that the found image reports some response from the artistic institution, (sales, awards, notes, publications, etc.) begin to repeat it until it becomes a boring and predictable cliche. Florencia Temperley seems to go against it and prefers to risk looking for other ways. That is why in these new photographs that objectification of the world that arose from the dialogue between childhood and play, gave way to a new way of looking at that world, now totally stripped, \u201cdevoid of doors and windows, subjected to the rigor of isolation and silence \u201d(1). But in art there are no cuts, but continuities or reorganizations, so although at first glance there seems to be no link with the above and the feeling in front of the works is disconcerting, - since nothing is as it was, and the space that housed now depopulated childhood fantasies is more aseptic than ever - however, if the gaze slowly manages to enter that fractal dimension of the objects, and that iterative resource of the fragment, which the author uses to convert that space into this quasi-white and minimal, you will see in some of the multiple windows a little head, you will see some transgenic animal crossing some wall and even a deer with letterhead guarding the showroom. Florencia was once asked how it all started, \u201cwith a game\u201d she said. And she kept building houses with the rasti (legos).<\/p>\n

Eduardo M\u00e9dici<\/p>\n<\/div>

<\/div><\/div>
<\/div>
Curatorial text<\/h5>PASAJE 17
Solo show, Pasaje 17 Gallery, Buenos Aires.\nMarch 2008<\/span>

Every game, when it really is, demands from its protagonists a certain dose of autism, of rejection to the gaze of others. The children, and also the artists (at least those who have not over-adapted), ignore the presence of the observer in their practices; they prefer to be one more player. There is no innocence in this lawsuit: if the outsider does not play, he is definitely the distant viewer who ultimately corroborates the hierarchy of a world tailored for vigilant adults and watched children. Games and arts require some complicity.<\/p>\n

Florencia Temperley, in a deliberate hospitable tone (in its most soulless sense), houses in aseptic spaces those \u201cboys and girls \u201c drawn only with a subtle line of ink or smudged with charcoal. The expressive supports, plots, photographs, coming from the repertoire of design and advertising, and graffiti, from urban art, reinforce that distanced and melancholic character with which our role as observers is committed.<\/p>\n

The \"creatures\" of Florencia suspend their games and look at us. They play by not playing and by changing their status they are the ones who subject us to the most intense of questions, to the deepest of demands. Even her toys seem to have undergone a strange mutation: the tenderness of the teddy bear in steel shaving violence, the color of globes in black mourning, the hammock in pure orthopedics ... There is something brutal that does not agree in forced fun of the red nose and the profile of the \"round the world\" with the gaze of that girl disguised as a little clown. Her scope is no longer that of a pink, light blue or yellow room but that stripped room, devoid of doors and windows subjected to the rigor of isolation and silence ...<\/p>\n

The white tree (of knowledge?) that serves as an introduction and epilogue to the exhibition-installation, parodically articulated as a mechanical artifact and accompanied by ferocious guard dogs, may not refer to the mythical Garden of Eden, to the Lost Paradise of childhood, but to that other promise of future happiness that these boys see in the strange games of the adults.<\/p>\n

H\u00e9ctor M\u00e9dici<\/p>\n<\/div>

<\/div><\/div><\/div><\/div><\/div><\/section>","protected":false},"excerpt":{"rendered":"Texto de artistaSTATEMENT Declaraci\u00f3n de artista. 2024Florencia crea fotograf\u00edas, objetos e instalaciones que integran situaciones naturales con elementos que ella misma construye. A trav\u00e9s de los escenarios que propone, guiada por una b\u00fasqueda filos\u00f3fica, invita al espectador a la reflexi\u00f3n, abriendo posibilidades para replantear nuestra percepci\u00f3n y cuestionarse qu\u00e9 es lo 'real': lo que otro me muestra, lo que el sistema intenta imponer, o lo aut\u00e9ntico, aquello que atraviesa el cuerpo. A trav\u00e9s de la uni\u00f3n de lo natural y lo artificial, sus obras funcionan como met\u00e1foras visuales. Observa el mundo humano y natural, lo cuestiona a trav\u00e9s del arte, con una mirada desde el afecto como acto de resistencia. Crea objetos a partir de maderas recuperadas o elementos industriales, los fotograf\u00eda y luego transforma esas im\u00e1genes mediante un proceso h\u00edbrido manual-digital, convirtiendo los montajes en composiciones in\u00e9ditas. Reproduce espacios naturales y los interviene digitalmente con elementos construidos por ella de forma real o digital; utiliza habitaciones blancas como marco visual para recortar una idea y tambi\u00e9n trabajar las ideas de encierro y control.\u00a0 En su obra, los elementos se transforman, las sombras no responden a la luz real y emerge algo entre lo que es y lo que se...","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_coblocks_attr":"","_coblocks_dimensions":"","_coblocks_responsive_height":"","_coblocks_accordion_ie_support":"","footnotes":""},"class_list":["post-21344","page","type-page","status-publish","hentry"],"yoast_head":"\nTextos - Florencia Temperley<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/florenciatemperley.com\/en\/textos\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Textos - 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