The first time I enjoyed the work of artist David Catá I reflected upon the importance of the body as an interlocutor of the deepest emotions, those we left behind at some point because they imply recognition of feelings that are painful.
In this post you can read an excerpt from the text I ‘ve written about David Cata, featured artist of Virtual Gallery and I would like to invite you all to stroll through his gallery, that we can see photography, sculpture and also videoart.
David’s work is about intimate issues, related to memory and the footprint other people leave in us, and transmits it to the spectators, but also to himself, through the use of his body as support.
While the human body has been one of the all time favorite motifs of art, since the 60s and 70s, the body also became a medium and artists began to treat their body like any other artistic material, drawing in the following decade even more, the attention of the creators who used the body as a medium of expression of the deepest or a scenario of troubles and tribulations.
Part of the work of David Catá follows this line, in his case using the skin as a support for his work through something as symbolic and full of meaning, as is the craft of sewing. So he narrates his deeper story, his emotions noting the people who marked him in his life.
So the craft of sewing and the autobiographical element, related to the idea of permanence, can be found in the work of artists like the british Tracey Emin, who in her book Every One I Have Ever Slept With. 1963-1995, lovingly embroidered inside a tent dozens of names of people that, “she had slept with” on those dates, but that were really a cosmos of people who had passed through her life in a way or another, and in general the work of the artist Louise Bourgeois.
For David, the act of sewing becomes a rite, which can seem on a first impression that he seeks to push his body to the limit by sewing it, but I think does not respond to a violence to himself, but to a desire of the artist to reveal the importance of family ties and their stories, and how they are intrinsically linked to the artist, in that action or ephemeral rite, which sometimes is made public through a performance, but mostly done entirely in private.
The record of these unique, transient and unrepeatable moments that occur in the act of sewing his skin, are documented through those beautiful pictures or videos where we get to know these people, although for us at first may seem anonymous, their lives and their linkage with the artist, retract us to our own memories in a constant desire to connect with our own past and the people who were part of it.
Paul Klee spoke in his theory of art of “Making the invisible visible“, art as an element that makes you live and remember. With the work of David Catá, our past, silent and continued as the seabed itself, emerges as our reality. It becomes a diary, ephemeral for these people and their stories to remain. A vital project in which the artist will work all his life, because, how many people will pass through it that we do not want to fall into oblivion?
Read full article here
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