A funnel that tapers: Pregnant tautologies.
A sentence in every line. A blow of exertion.
—Ana Cristina Cesar
Incisions: It is not about filling the void. It is about giving it prominence. Opening space for flow between what is already formed and what does not yet know its own shape. From the imprint and the shadow comes the line. It tapers into a single viable form to make us notice the detail. Cut and trace. Multiple voluntary uncertainties moving unfettered to their own cadence. No inhibitions. With autonomy. At the end of every gesture, the depths of the black seek some light that can flow into color: blues, yellows, reds, fuchsias, calypsos of pool and peacock. When one is able to wean off the visors imposed by a hurried daily life, vast passages open up so that lines can make up the essential imprints: wire allegories, tautological abandonments, as a drawing that draws, as a stain that imprints, as the design that desires, forging the funnel shape. Two of these forms, when vertically juxtaposed, reveal the image of an hourglass, where life slowly trickles down in grains, bringing out from Cris Rocha’s refined output her blows of exertion. Today, the artist presents a work consisting of line values that sometimes escape, lonely, at intervals, in spacings, in interstices, and sometimes come together in planes of intense pigment: all as pregnant voids.
ELIDA TESSLER “Funil” (FUNNEL), 2004