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Saudade, a gesture of healing.

The re-significance of customs, codes, experience and travel appear as links that unfold, affect each other. From the threshold between tradition and experience, Brenda has developed the ability to unapologetically identify what appears in the distance and offer it in her work. She turns to the teachings of French philosopher Gilles Deleuze for direction. Rather than creating a linear narrative, the rhizome presents history and culture as a map or wide array of attractions and influences with no specific origin or genesis. A “rhizome has no beginning or end; it is always in the middle, between things, interbeing, intermezzo.” The nature of the rhizome favors a nomadic system of growth and propagation.

Brenda takes time to reassess

She cites her goals for her residence in PILOTENKUECHE as  “to understand who I am and what is important to me.”  She is taking time to check and confirm her identity crucible and points of interest, which will not necessarily obey an intrinsic order, and to open the dialogue about what it is to be Jewish, woman and artist. 

Central to Leipzig’s history, books recount stories and are easily transportable. For her work here Brenda is working on book binding cloth. Extensive rolls of barely absorbent and porous material, reveal the idea of a subtle requirement: the reiteration of the stroke to contain the record. Brenda returns again and again to the “canvas”. She does so with the same intention that one can return to a memory. When recreated, it may be the necessary tool to repair the present. 

The oil is washed as it adheres and the result is soothing.  Images fall through an organic whole, roll-root, a melancholy yearning for something missing. The lack of adherence also tells us of an oscillation where decisions are taken through what is and what is required. Brenda’s works become migrant objects, reminiscent of the diaspora. This “photographic clipping of the instant” finds its maximum potential as Brenda embraces her nomadic power. 



Redefining tradition

For the final show, cotidianidad freedom, Brenda is adding a new material. It is through this movement that symbolic elements are captured in an evocative way. Ceramic is the material that expands the nature of the work by increasing its connection with plasticity. Modeling from the body it has a distinct intention: to heal its feminine lineage within the tradition. This growing dimension finds it as the host of its own paradigm. 

Under the ritual premise, unique pieces will be recreated. Each week from sunset on Friday to sunset on Saturday women light the Shabbat candles. This privilege is afforded because the woman sets the atmosphere of home. Jala, the typical braided bread traditionally eaten every day of rest, represents the ability to manipulate the raw material of the world.

If these gestures help to put the creative capacities at the service of the purpose of observing the Shabbat, here Brenda breaks, prolongs and varies it. She plays with the rigid surface as an invitation to a new emergence, lacking structure, fundamentally open and subject to constant modification. 

Rhizomes in action

“When a rhizome is intercepted, branched out, it is over, nothing happens anymore with desire; because it is always by rhizome as desire moves and produces. Every time the desire runs through a tree there are internal relapses that make him fail and lead him to death; but the rhizome operates on the desire for external and productive impulses,” Guilles Deleuze. Brenda’s work is a desire for healing and a reason for deep expression. 

written by Delfina Raban

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