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Interview with Mirla Fernandes

Interview  /  Artists
Published: 23.07.2013
Interview with Mirla Fernandes.
Author:
Klimt02
Edited by:
Klimt02
Edited at:
Barcelona

Intro
I have chosen to live in an extremely crowded city, with more than fifteen millions of habitants. Here there are all sorts of people, from all sorts of places, races, cultures, etc. Being so, I feel what I do is influenced by these multiple global and particular sources.
Do you think that jewelry is being standardized? What is there of local and universal in your artistic work?
I believe some jewelry is definitely being standardizing - as everything else - but fortunately there are always those who rather build their very personal paths. I have chosen to live in an extremely crowded city, with more than fifteen millions of habitants. Here there are all sorts of people, from all sorts of places, races, cultures, etc. Being so, I feel what I do is influenced by these multiple global and particular sources. I feel free to mix all sorts of influences, from artistic languages, philosophies until different popular inputs and my work is the result of it. Whether its universal is for the other to consider.

What do you expect when exposing your work to the public (for example with an exhibition)?
I expect people to be interested in touching it, to feel intrigued, to feel like interacting with my artistic proposals.

 Are other areas besides the jewelry, present in your work?
Yes, my artistic procedures are a mix of techniques. I’m not doing pure jewelry as I am not doing pure painting, engraving or drawing. Generally, when I choose one technique I don’t like to use it in the traditional way. Imagine that engraving is a circle, and jewelry is another circle: I act as the hands that puts those circles in contact and the tangent point that results is my work.

For instance, my most recent series of works, “Ensaios de Imprecisões” (Essays of Imprecisions), deals with the possibility of a dialogue between drawing, jewelry and even Aikido.

The last work, book, film, that has moved me was...
Last week I watched a documentary, “We live in public” and it was moving in the sense that makes us think about the inevitable consequences of the virtual social life we have to deal with (like facebook, instagram, twitter, etc.). How do we relate these days and how much of these virtual contacts became indispensable, how do we deal with the amount of interferences they cause in our real relationships: these are subjects that interest me a lot.

A place, space, country whose creativity surprises me...
I guess there is no such space. What surprises me are some individuals that are creative, and they do not come from one single place. In general I feel surprised with people that solve problems without many material resources: sometimes is a financial limitation, sometimes is a technical limitation and nevertheless these people come up with great ideas. 

Is there any designer, jeweller, artist, you appreciate a lot?
There are many, but I would like to mention the artist Lygia Clark because of the revolutionary proposal of her body of work.

What piece or work has given you the most satisfaction?
I am very happy with a very recent work “Cetro” (Sceptre), because its proposal demands the public reaction. It deals with the concept of power (and subsequently, risk), which in my point of view relates to jewellery.
In this work I have “imploded” the sceptre – symbol of power - in hundreds of units. The imprinted marks of making suggest a way of relating to it, and also evokes the act of holding a sceptre: but it would be an invisible one. In the moment of exhibition, I display these pieces on the floor, demanding the other to bend. They may take one home, but in exchange I ask for their picture with it.

At this very moment what I am doing is to ask them to give away any passive disposition and, on the contrary, to reflect upon the idea of their own images while they are producing one (there is a camera and a mirror at the exhibition space). So with it, I am also stepping in the fields of painting/photography as I am implying the construction of a portrait by the other. With these procedures I am suggesting some questions: what is the sceptre of today? Would it be your image? What is the power of a portrait, or should I say, of an avatar?

I had the opportunity to show it at Galerie Hop in Tallinn last February and the results were surprising. I will do it again at Galeria Amaranto, Barcelona, next October.
Image of the process of “Ensaios de Imprecisões” (Essays of Imprecisions) – 2011- 2013.
Image of the process of “Ensaios de Imprecisões” (Essays of Imprecisions) – 2011- 2013

© By the author. Read Klimt02.net Copyright.
Image of the exhibition at Galerie Hop, February 2013.
Image of the exhibition at Galerie Hop, February 2013

© By the author. Read Klimt02.net Copyright.
“Cetro” (Scepter), ceramic, mirror, digital camera, photographs, 2013.
“Cetro” (Scepter), ceramic, mirror, digital camera, photographs, 2013

© By the author. Read Klimt02.net Copyright.
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