embroidery – captivated eye
errata
24 March, 2021ruana-book
24 March, 2021
By Luz Sepulveda -
Art critic Article published in the Picnic magazine Mexico City
The body of the work presented by the artist Yohanna M. Roa, shines in its formal splendor: the figures that the artist portrays and later embroiders on paper result in an irresistible feast for the eye. The artist works the landscape portrait in color or in black and white and traditionally prints on paper. Next, he highlights some non-obvious details of the shapes represented, and he embroiders them with cotton thread, sews beads or inserts staples or some other nondescript accessory in appearance, although decisive in the final form of the work.
Yohanna's intervened photographs remain as a testimony to an immaculate landscape, except for the intervention of the artist's work, who beautifies the environment, while presenting a delicate but marvelous piece. If some artists choose the process of the work, regardless of the final result, as would be many examples of works of a conceptual nature, Yohanna recreates a work of artisan tradition and prints on her work a resistant and essentially vital result.
On the other hand, photography has been defined as the technique that, through devices and mechanisms, manages to freeze a moment in time that would otherwise be evanescent.
In Yohanna's case, in addition to capturing the precise moment, she distinguishes specific particles from the object portrayed through embroidery, an issue that enhances and makes more tangible fragments of the landscape. The palpable surface is an invitation to contemplation, as well as to the sense of touch.
The pieces that Yohanna presents, more than a mere representation, are about the consolidation of a specific space and time that are portrayed and later intervened with thread, adding one more aspect to start a dialogue with an aesthetic narrative. In other words, if her photographs are already artistic objects from the moment the artist conceptualizes her work and until she prints it on paper, they are even more so as she enhances the highlighted fragment. The technical work -photography-, as well as the artistic one -the concept of the work- and the craft -embroidery- are complemented in an indissoluble triad that leads to a perceptual analysis that culminates in the sublime. The artist captivates our eye first by the general shot that she presents; then for the brightness and color that the portrayed forms give us, and finally, for the delicate embroidered detail on some traces of the image intervened.
Art critic Article published in the Picnic magazine Mexico City
The body of the work presented by the artist Yohanna M. Roa, shines in its formal splendor: the figures that the artist portrays and later embroiders on paper result in an irresistible feast for the eye. The artist works the landscape portrait in color or in black and white and traditionally prints on paper. Next, he highlights some non-obvious details of the shapes represented, and he embroiders them with cotton thread, sews beads or inserts staples or some other nondescript accessory in appearance, although decisive in the final form of the work.
Yohanna's intervened photographs remain as a testimony to an immaculate landscape, except for the intervention of the artist's work, who beautifies the environment, while presenting a delicate but marvelous piece. If some artists choose the process of the work, regardless of the final result, as would be many examples of works of a conceptual nature, Yohanna recreates a work of artisan tradition and prints on her work a resistant and essentially vital result.
On the other hand, photography has been defined as the technique that, through devices and mechanisms, manages to freeze a moment in time that would otherwise be evanescent.
In Yohanna's case, in addition to capturing the precise moment, she distinguishes specific particles from the object portrayed through embroidery, an issue that enhances and makes more tangible fragments of the landscape. The palpable surface is an invitation to contemplation, as well as to the sense of touch.
The pieces that Yohanna presents, more than a mere representation, are about the consolidation of a specific space and time that are portrayed and later intervened with thread, adding one more aspect to start a dialogue with an aesthetic narrative. In other words, if her photographs are already artistic objects from the moment the artist conceptualizes her work and until she prints it on paper, they are even more so as she enhances the highlighted fragment. The technical work -photography-, as well as the artistic one -the concept of the work- and the craft -embroidery- are complemented in an indissoluble triad that leads to a perceptual analysis that culminates in the sublime. The artist captivates our eye first by the general shot that she presents; then for the brightness and color that the portrayed forms give us, and finally, for the delicate embroidered detail on some traces of the image intervened.
