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Item description
An abstract digital illustration on a white background of red prints of pieces of a palm and fingers fanning out in a half-circle at the top with a finger print full of lines folded over on either side below and two ovals in between them. The ovals are side by side and have the darkest, longest lines stemming from the sides facing the fingerprints. Below the ovals are two full-finger prints side by side with the darkest lines at the tip of the fingers. Below that are two irregular rectangle shapes full of lines with softened notches out of the top that touch the base of the piece. All of the lines inside the shapes of this piece encircle each other but never seem to touch each other, despite how small or long they may be.
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RED BODY WITHOUT OUTLINE 7

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