If concepts can be visual or visuality conceptual, it might be said of Elizabeth Jobim’s recent artistic output that it provides a visual concept of disjunction. Her works—a pinkish monochrome, for instance, whose uninflected surface maximizes the optical brunt of the slash that halves it; an all-white rectangle, also sliced in two so as to allow for a vertical glimpse of the black layer beneath it; or a deep-red solid, one section of which appears to have been cropped out and hangs suspended in midair—propose that the acts of cutting, cropping and disjointing be considered more than technical expedients. Jobim’s works propose the disjunctive cut, performed either through actual slices or dislodging lines, as a mode of fracturing their contained autonomy and invoking relations between segments of sub-segments, tidbits slivered from already broken parts. The result might be described as a shifting diagram: arranged across a wall, these works relate...among themselves and others to form a sprawling network of connections that viewers can chart in ever renewable fashions, depending on how they choose to distribute their inspecting gaze.
Entrada actualizada el el 07 feb de 2018
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