Rita Vidal

(…)The perception of form itself morphs in Vidal’s manipulation of light. The architectural quality of her objects asks the viewers to see a space transforming, or revealing itself, under her operation.

In her most recent applications of felt framed under glass the artist has created and rejected correspondences through her mastery of reflected light. At times, dark corners within the space can project sequences on her artwork, enmeshing structural elements with a new rhythm. But this research of the gaze is equally bound to collapse. Vidal’s other work, such as her plain canvases, can become impenetrable to light and to the control of the viewer. Her objects seem to theorise how any real understanding is an interplay destined to pass. (…)

Vidal’s artworks are forensic evidence awaiting for further investigation. In this instance, the crime is the artist’s desire to fabricate anew fleeting marks of a material space passing through light, through memory, through time.

Giulia Damiani. Rita Vidal’s Art Objects. Fabricating Traces

This visual essay is part of Douglas Garcia observation over the work’s relations, apprehension and manipulation of the space while dealing with felt, glass and other daily materials found in the studio.