Fernanda Gomes: Baumgartner Gallery.
Bryan-Wilson, Julia
In 1907, Russian Symbolist-cum-Constructivist director Vsevolod
Meyerhold called for a new kind of revolutionary audience of
"vigilant observers," hoping that concentrated effort on the
part of theatergoers would foster a newly focused political subject.
Brazilian artist Fernanda Gomes, in her third solo show in New York,
demanded a comparably active viewership. The art on display included
filaments of string casting barely perceptible shadows, a tiny gold
thread looping out about an inch from the wall near the floor, and
pieces of clear tape applied to the wall. One does not see much of
Gomes's art without first hunting it down; once located, the
elusive objects demand an attentiveness that verges on surveillance.
[ILLUSTRATION OMITTED]
Gomes makes work from materials she finds in or near the venues in
which she exhibits. With a scavenger's resourcefulness, she
utilizes ordinary materials (nails, thread, tape) to heighten our
awareness of the subtleties of surface. A raised square of thick white
spackle contrasts with its smoothly painted surroundings, and a length
of tape is visible only by its gentle glint. In her hands, the whiteness
of the gallery takes on a kind of fragility. Thin threads emerge from
the wall and flutter slightly in response to viewers' breath. Gomes
demonstrates the lyricism that can come from economy: A little round
disk of white fibers is stuck on the wall at eye level, as if a cotton
pad had adhered to the paint and been removed, leaving only slight
traces behind.
Along with these subtle interventions, there were more traditional
works, including three all-white diptychs, a sculpture of egg-shaped
forms attached to a pedestal, and a small wall work that consists of
broken chalk stacked on a slab of gum adhesive. The paired primed
canvases of one diptych are distinguishable from one another only by
differences in surface finish; in another diptych, a needle projects
from the thin gap between the unpainted panels, dangling a thread from
its eye.
The gallery was bisected by an installation featuring several long
strips of clear packing tape stretched between the room's concrete
pillars. The tape moves away from the threshold of imperceptibility by
becoming a physical barrier. A wire also extended across the space, a
single sheet of white paper hanging from it like laundry on a
clothesline. The precedents here are many (Fred Sandback and Richard
Tuttle, for instance) but the refrain that echoed most loudly was
Meyerhold's exhortation to artists and audiences alike: Pay
attention. It is especially fitting, then, that Gomes harks back beyond
Sandback and Tuttle to the concerns of radical Soviet artists. Her
square pane of Plexiglas hung at an angle to the wall with nylon thread,
for example, suggests a pared-down version of Vladimir Tatlin's
counterreliefs. Kazimir Malevich's white-on-white series also seems
relevant; in fact, Gomes's show reads in part like a meditation on
whiteness and its presumed neutrality.
None of these works really function discretely, but neither does it
seem quite accurate to lump them all together as a single
installation--they appear more as a sequence of individual vignettes
designed for particular spaces. Gomes's art pushes the viewer past
attentiveness to the point of compulsion. Is that drip a work of art or
just a drip? The checklist was of limited help; it was incomplete and
included only the most overtly conventional (and marketable) works.
There are rewards, of course, in being a scrupulous viewer, especially
since the traditional works listed were less intriguing than the minute
lines and loops and threads found elsewhere.