Transición a turbulencia [Transition to Turbulence] (2021)
Audiovisual installation. Projection of a digitized Super 8 film, a video on a CRT television, mirror, dried flowers, and red developing light
11′
BA Collection
Inventory No.: 2021.512
The artist is in the numerical heyday of amount and speed, but this glossy aeroplane leaves a shortcoming in its wake: feeling is lost as it accelerates. Her work is sullied by time, language and contradictions; it is tainted by the paradox that is embodied by the tension between two very different realities: the accelerated virtualization of life and the fact of continuing to be sensitive physical bodies, that need very slow emotional and learning periods.
Transición a turbulencia [Transition to Turbulence] is a change of state; the principle of delving into the weather of clouds and forest, a search where the written, the filmed and the experienced collide. She plays with the words that evoke and produce experience and with the impossibility of capturing time yet with the need to be immersed in it. If we are half water, we must have in some hidden spot of our wisdom the capacity to nurture, to flourish, to splash in the waves, to shape ourselves on the rock of the path, to fall without hurting ourselves.
During her residency, Sara Padilla resorted to the camera and word to work on the experience. She uses the analogue medium to talk to the image from the calm times that she defends, and the experience of reception is important in the installations that she generates. She believes that art is the way for us to bring to fruition new ways of understanding life and crossing limits, but we must knock down the walls that we have constructed between the mental and the corporal. She wonders how that be done now that the rational version of the world seems to replace experience.
Her earlier work started from analogue photography and experimental cinema; but in Transición a turbulencia, she decided to experiment with other languages and, for the first time, to use her voice and – from her own personal diaries – the word as material for the work. She also embarks on experiments where she seeks to mix techniques and learn what defines them and what blurs them: her audiovisual piece uses frames that are in reality an analogue photograph printed over 100 times, where the movement is generated by those subtle changes that exist between one print and another. Therefore, this piece captures a point in her career where she opens the doors to change, followed since then by a gestation process of other artistic expressions.