Erika VerzuttiTwo eyes two mouths, 2015
Bronze and acrylic
41 x 42 x 8 cm, 16 1/8 x 16 1/2 x 3 1/8 ins
It is a square shape with four elements in it. This image comes from makeup tutorials – not tutorials but makeup instagram, Instagram recently released a new tool that it the layout. So you press a button and you can collage 2 3 or 4 pictures. And this structure of 4 fields in the instagram square appeared recently- I saw it a lot and there are not many but very interesting variations to it and there are other works in this series (exhibition) that visit these variations. In this one all the mouths and the eyes are parallel to each other and they are diagonal in the square and I felt as if I was giving these compositions as a gift – a colouring book or a fresh composition to play with. I went for the volume of the clay – this finger bite – the way that I attached clay here to try to appropriate maybe that composition- and make it mine and physical and share that tactile quality of the lumps of the eyes of the eyelids. Those are shapes the mouth and the eyelid and the eye- how do you call this eye shape an almond? These are shapes that are under my radar right now- I am very sensitive to indentations as Charlotte likes to say and eggs and oval round volume – much stronger than squares but painting here appears as an independent play with the paint. I used this Japanese acrylic gouache that is very deep- with a velvety quality to it that is much stronger than any medium you can apply to paint. Using this paint that is very matte keeps it independent and autonomous in relation to the support that is here- something between the sculpture and the canvas- a wall based work. I feel some allowing through using this matte exotic unique paint so that I keep some distance to the act of painting and I position myself closer to the viewer of paintings and I’m sharing this attempt to touch a surface with paint- and there is some arbitrary shape drawing here and fortunately the detachment that these matte paints give me do not make it float on the surface- if one thing is a given it is that we have paint on bronze – and painting vs. sculpture situation – they always worked towards being one thing not being two things put together . I would be unhappy if I saw paint floating on the surface or not embracing, not sticking to it and becoming one body. (CM) From EV: 'Understanding my unique x editions can be tricky. The main criteria in this group ( and criteria got a lot simpler since the Carnegie wall works when I used the reliefs as canvases for infinite variations) is that when the work is determined strongly by sculpture rules/ assets it is edited as a sculpture ed. Of 3. When painting takes over and goes "off the grid" they're unique. *Another interesting parameter is that in some cases (e.g. The Dress, Bikini) the paint is working in "frottage", thus following the sculpture, therefore edition.'
The Artist, Sao Paulo
The Artist, Sao Paulo
Erika Verzutti: Two eyes two mouths , Alison Jacques Gallery, London, 13 October - 17 December 2015