Blind Field is a book with blank pages, a set of anonymous and invisible monuments in the over-populated big city skyline. It is a series of blind walls images – building’s unexpressive faces – reconstructed with mathematic caution and esthetic rigour that would fully align with the art’s historical references and its recurrent contemporary utilization.
From the abstractions of the concrete to the conceptual photographic experiences of germanic inheritance, Blind Field seems to circumscribe its area on the foundations of these recent traditions. And indeed do this with accurate observation and constructive sense in order to attain a componente that we can not see on the horizon.
Whether they are the plastic synthesis of geometric art or the cataloguing idea of subjects captured by the eyes of the camera – like the plants archive of Karl Blossfeldt in its book, Art Forms in Nature, published in 1928, or Bernd and Hilla Becher famous typologies of industrial architecture, in the 1960’s – everything promote the idea of recover these elements in the landscape of São Paulo.
The artist removes the buildings from the anonymity of the urban landscape and gives to each of them a distinctive character, both equally uniform and unidentifiable – action that puts back the subject into its artificial aspect: the perspective removal, the subject centralization, the colour suppression, the frontal capture. Then, white monoliths plane and steady emerge, erected by certain disguised quietude inventoried through the photographic action.
The blind walls in Blind Field are compact blocks; sometimes, hollow matter. Dualities present themselves in the images, which do not show anything but flat opaque planes. Nevertheless, peculiar discreet traces of each building can reveal lines that delimit rooms, flights of stairs, floors, traces of graffiti or stains left by the time. Real life indicators in a palpable city. Solidity yields to both, the enigmas of plastic subject facing its photographic materiality and to the deciphering of its social symbol condition.
The work escapes from tradition through a subtle experimental process, yet not less stirring. Oppositions dynamize in the way the artist understands and materializes his images. The series showed clearly in its embryonic face, kept as a filed collection, its sense as an archive and document, thus experiencing the comfort of conceptual tradition. After that it became an object, a box that defined the selection of images exclusively vertical in which the buildings are presented more clean and monolithic. This modulation gave to the work a tactile character; called back the minimalist tradição, but gave to the viewer and to the artist playing and rearranging possibilities, with the photos loose inside the box, fixed on pieces of cardboard.
Blind Field finally developed into a set of various thickness, forms and rhythm, added to a book of translucent pages that plays with the superposition of the photographies whites and greys. The concrete, clearness and silence of the buildings in this series found in the variety of holders and spaces, one component in behalf of its language. It’s about a city that appeals for us to read it or face us with its blank pages; empty subjects, giant graves, faceless buildings, obelisks without history or a field mined with implosions. Cement and paper go together and are incorporated into the art gallery seemingly quietness.
Mariano Klautau Filho