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Topofilias - 2016 - Porto Alegre RS Brasil


O lugar costuma ser o centro - 2020 - São Paulo SP Brasil

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Periferia, desenho instalação, bordas de desenhos coletadas de 2015 a 2020, dimensão aproximada 180x180cm, 2020.

A exposição ‘O lugar costuma ser o centro’, realizada no Adelina Instituto, em São Paulo teve como foco a reflexão sobre a ideia que temos de lugar. 

Visite on-line O lugar costuma ser o centro

Walkabout  [Versão em português]

Mario Gioia, march 2020

In “O lugar costuma ser o centro” (The place is usually the center),  Claudia Hamerski presents new developments of her work, now more colourful and connected with the idea of origin and identity. Her process is still based on drawings, but her investigations of smaller, peripheral landscapes and her multifaceted approach towards language are emphasized now. The procedures the artists employs as triggers for new conceptual and visual configurations cannot be forgotten. Hamerski, originally from Rio Grande do Sul, is presenting her first solo show in São Paulo, which will surprise the audience that already knows her production due to the virtuosity of the large black and white works that earned recognition, including the art prize Açorianos (drawing category), in 2016.

Initially, she experimented with chromatic experiences. Then, she participated in the Programa Artista Convidado do Ateliê de Gravura of the Iberê Camargo Foundation, in Porto Alegre, where she worked using color, resulting in softer series than her previous pieces. It is important to point out that the catalyst for her works was her hometown, Seberi, located in the northern region of the state. In a more relaxed posture, using new materials such as dry pastel, the drawings carry a sense of freedom, perhaps due to the proximity between their author and the location they were based on, now reframed in an artistic context. This series also evokes renowned artists, such as Ellsworth Kelly (1923-2015) and his synthetic drawings, or the botanists and artists that formed artistic missions like Margaret Mee (1909-1988) and Maria Graham (1785-1842).

Still using color and blurring the boundaries between two and three-dimensional works, Claudia presents one tall, medium drawing. She associates it with a cascade that treasures the vestiges of its own creating, process. Like in a hide and seek game, material fragments of color spread out throughout the once-white surface, expanding through “paunches” that turn the piece towards a three-dimensional aspect. This work echoes previous ones, such as 8B, in which overlapped graphite pencils (that were used for earlier drawings) compose a strange skyline that can refer to the exhaustion of the creative process, or bring about a melancholic feeling in the face of harsh and tomb-like metropolitan horizons. Now in “Eco” (Echo), the artist seems to add the magic of color to relieve the dryness of a daily life that routinely undermines us.

The urban context is still present in “Periferia” (Periphery), an installation that emerges in the middle of the exhibition space. It is composed of a compilation of materials she discarded in her studio – the scraps of earlier drawings create a piece that carries certain irony towards our constructive heritage in the arts. It also deals with the contradictions between the center and the periphery, in different layers of interpretation – while also referring to the title of the show.

“The importance of the place for grassroots movements, for the formation of cultural identities, for resistances, counterpoints, dreams, renewals, reveries, and freedoms, is precisely in its indissociability from our  experience and, consequentially, from our existence – that is, from what we are. And in order for us to continue to be, the place is usually the center” 1, writes Eduardo Marandola Jr. in the preface of the book by the Chinese-American geographer Yi-Fu Tuan, a key reference in the artist’s research.

In “O lugar…” (The place…), Claudia, however, doesn’t shy away from showing the large graphite drawings on paper that earned her recognition in the Brazilian contemporary art scene. From photographs that resemble the street photography style, weeds, bushes, and neglected vegetations in sidewalks, through the artists magnification and construction, large panoramas of  vigorous lush wilderness – a green inferno in black and white, with titles that allude to the high-flow streets where the photos were originally taken. In these imaginary landscapes, Claudia builds on, little by little, a new collection of sceneries on the edges. The contemporary urban scape is filled with traces, vestiges that cannot be erased, revealing nature’s will to resist, even if in the tiniest of scales. As the Italian artist Francesco Careri states: “A nature where the landscape which one passes through has already been transformed into a new landscape, where also our presence is the cause of new changes and, where, in order to walk, one must have a strategy or, at least, a ritual”. 2

  1. TUAN, Yi-Fu. Espaço e Lugar - A Perspectiva da Experiência. Eduel, Londrina, 2013, p. 9 e 10

  2. CARERI, Francesco, Caminhar e Parar. São Paulo, Gustavo Gili, 2017, p. 14. 




Text written by Mario Gioia curator of the exhibition O lugar costuma ser o centro (The place is usually the center), held in 2020 at Adelina Instituto in São Paulo SP - Brazil.

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