Item description

A collection of digital works in a presentation format. At the start is a project description in red text on a white background and in both Spanish and English. The first piece is a digital illustration of a person’s backside. Their hair is in a braid and their arms are reaching behind their back with the front of their wrists touching. The hands and body are full of brown lines that swirl around each other without touching. The lines are closest together at the fingers and places on the body where the fingertips touch, spreading and straightening out as they get farther away. The background is white. Text next to the piece reads: “Hands without contour, hands that flow to their rhythm, hands that stain and do not touch, digital illustration, prepared in May 2021.” The second piece is a digital illustration of red lines on a white background. The lines take the form of a curved, body-like shape at the bottom. Balanced on the center of the shape is a square with a long red beam on top of it. A circle is balanced on top of the beam, tilting it to the left. The lines swirl around the page and are thinner onwards the center of the piece and thicker along the edges. Text next to the piece reads: “Monolithic body, red body that flows with its surroundings, a strong and warm body, digital illustration, prepared in June 2021.” The final page displays both pieces, framed next to each other on a white wall. Text in Spanish is translated in English: “Red body without outline. Just like when blood dries, just like you can only see the true shade of red hot, only in living beings. Technique: Digital Illustration, photography and printing on 270 gr cotton paper. Dimension 26cm x 28.5cm.

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RED BODY WITHOUT OUTLINE 1

Tania A. Hodge

This project revolves around a series of images that emerge from my research – a creation given in the midst of the COVID-19 contingency that emphasizes the importance of mapping the body for its understanding and the understanding of its corporality from the paw print. Therefore, these images take a part of me in each line that I drew, erased and redrew on my body photographs, which evidence in it a sensitive memory based on the repetition of the traumatic event as Deleuze names it, in Repetition and difference:
The theater of repetition is opposed to the theater of representation... In the theater of repetition we experience pure forces, dynamic traces in space that act on the spirit without an intermediary and link it directly to nature and history; we feel a language that speaks before words, gestures that are made before organized bodies, masks before faces, specters and ghosts before characters; the entire apparatus of repetition as "terrible power" (Deleuze in Pabón, 2000) (pg. 73).

The art of repetition, the art of feeling pain and suffering, the art of being a red body that does not limit, but is capable of loving and not repressing its feelings, that, after all, is what they talk about these (and other) illustrations; which are initially presented digitally as a vivid red hue and at the time of printing are transformed into dead red ranges.

Therefore, the following images that I uploaded, deal with my external and internal chaos that I developed in the midst of the contingency by COVID-19, where I was forced to face my feelings and my corporality to understand the flows by which my pain and suffering they flow.

It should be noted that these illustrations are part of my degree project called "FLOW IN RED: ephemeral experiences from the transformations of red", to obtain my degree in visual arts, at the National Pedagogical University of Colombia, which start and end in a pandemic and which is structurally transformed into a Mnemosyne Atlas and theoretically into a Rhizomatic Map.

Attached is the digital red atlas that was born from all this research-creation project

https://tania981221.wixsite.com/my-site-1/work

Rights Statement

https://creativecommons.org/licenses/by-nc-sa/4.0/

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