Shapeshifters   2021 -2022

The ephemeral and the photographic record; the body and the spirit; volume and matter; lightness and heaviness; appearance and essence; delivery and reception; statism and movement; distance and proximity; desire and reason; being and seeming; the virtual and the real; space and time; the learned and the forgotten; limits and freedom. Ariadna Pastorini's sculptures display all these levels and imbricate them in such a way that only analysis can individualize them, necessarily betraying the totality. But, at the same time, the dissection allows us to enter into the creative complexity of the artist who postulates, through her ephemeral performative works crossed by photography, a rereading of the terms associated with sculpture throughout the history of Western art. How not to recall, from the forceful contemporaneity proposed by this work, the mimesis of classical antiquity, medieval hieratism, Renaissance contrapposto, the folds and contrasts of baroque, the contours of neoclassicism, the successive ruptures of modernity? The artist resorts to the term shapeshifters to account for the transformation produced in the proposal-experience lived as a whole, where the interaction with the other is decisive. In Pastorini's hands, the canvases take on an unusual life, the colors are enhanced generating atmospheres, the body enters a universe with the powerful rules of fantasy and reality is filled with longings. Here, the sculpture, more than ever before, highlights the corporeality in conversion, confirming, in this historical time of incessant changes and conflicts, the need for closeness, communication, amplitude, encounter. And it tells us that other forms and looks are always possible, other more sensitive and human contexts. 

                                                                                                            Laura Casanovas

GEOMETRIC THOUGHTS



Geometry is a natural thought of orderings. Perfect divisions, repetitive forms, color rhythms. But it is not something rigid, it also softens, and it softens in my sculptures, it could be said that the form is deformed? Is it a manipulated geometry? In any case it is a soft geometry, a corporal geometry where the palpable makes us lose the notion of the hardness of the structure. Gustavo's paintings of perfect geometries sometimes take a rest on benches and tables, as if they were trying to be more human, they deflate in that rest, as opposed to my forms that continue to inflate with every glance. They are only geometrical thoughts of ours... A Pastorini Buenos Aires 2021

Gustavo Daniel Rios - Ariadna Pastorini