LAURA VINCI, FLOWS

7.

 Todas as Graças, 2018 

Spun brass
7 pieces Ø 60 cm, 7 pieces Ø 30 cm
Artist’s collection, São Paulo – SP

 

“With All the Graces, Laura Vinci challenges and provokes us to go beyond visual triviality in order to decode the temporality imprinted on surfaces, restoring memory to the body and stories to art.

‘All this history is contained in my Graces,’ says Laura, seeing in the images of art, above all, images of images—condensations of time.

[...]

The enigma that endures in these works refers to the inherent tension in art—between matter and light, the perceptible and the legible, opacity and transparency, ‘raw material presence and a discourse encoding a story.’

But what are these ‘images’ that tangle nature and history?

Beyond the moment in which they are experienced, image-works have an afterlife that stretches past the impression; they unfold into sequences of other images, overlap, and associate in networks.

What is memory if not a compilation of images? Once they are ‘loaded with time,’ says Agamben, saturated images ‘become history.’

There is, therefore, a life of images to be understood—a temporality to be unraveled—which the artist explores with keen awareness of an unknown nature underlying the physical world and the memory of art.”
— Virgínia Aragonés

8.

 Morro Mundo, 2017

Borosilicate glass, smoke machines, and metal props
Variable dimensions
Artist’s collection, São Paulo – SP

 

“The French poet Stéphane Mallarmé said he smoked to put a bit of smoke between himself and the world. As if smoke were a kind of lens or scale, a hut or anti-hut, but always something in between.

Laura Vinci, whose work has always been sensitive to different states and vibrations of matter, knows, however, that everything is smoke, haze, mist, fog. And mist is a spiritual contour. There is no outside of the mist.

‘Diadorim was my mist,’ wrote Rosa.

Everything mist-nothing, says Ecclesiastes.

All humans, by virtue of being human, are in the mist, whether they want to be or not, said Vilém Flusser.

A mist that, here in World Hill, has high tides and low tides.

And it subjects us to constant shifts in perspective. It is when the matter of the world dances around us in waves.

Whoever says haze, says threshold.

But in the beginning, concretely, it is the glass tubing—this enemy of mystery—which already displays the smoke, still contained, almost restrained, like an animal ready to leap, until it is finally released by the activation of motion sensors and coils its body through every corner of space, engulfing it and engulfing us.”
— Carlito Azevedo

9.

Corrente, 2024   

Gold-plated brass
384 × 9 × 9 cm
Artist’s collection, São Paulo – SP

10.

 Solitárias, 2025 

Gold-plated brass
Variable dimensions
Produced with support from the ProAC – PNAB 25/2024 grant, MuBE, São Paulo – SP

 

Solitaries are suspended by thin chains directly connected to the upper structure of the gallery, like relics from a future in which the singular eccentricities of our Earth have ceased to be noticed.

The work invites the viewer to see themselves as part of this pulsing environment, where their own body is present in the continuum.

Among the group, some Solitaries rotate on their own axis.

11.

Máquina do mundo, 2005
Metal, motor, plastic, and 10 tons of marble dust
Variable dimensions
Inhotim Collection, Brumadinho – MG
 

In World Machine, the transfer of powdered matter is carried out horizontally and through the machine—this new component, which I borrowed from Drummond’s poem.

In fact, it took shape because of the poem—my World Machine nearly transports each grain of marble dust individually, in a mineral silence, as if it were carrying back and forth the history of sculpture in powder form.

All that marble may hold, in its pile, possible eternal sculptures.

And perhaps, grain by grain, it reflects on our fragile transience.

12.

 

Pêndulos, 2024

Motor, brass, and aluminum
Variable dimensions
Artist’s collection, São Paulo – SP