Preambles introduce; they prepare the restless eyes for what is about to unfold. They also serve as a warning of sorts: rather than giving us comfort, they ignite the unreasonable. They push forward, so that we might follow a path towards transformation: one that will make a difference. At every beginning, there is necessarily hope and the threat of failure. Therefore to forge ahead and begin anew entails risk, imagination and creation.
There will always be a road forward, if one searches for it.
Roberta Goldfarb invents preambles, but she does not flinch from the starting point (that which we can call essential). What is important is to feel that we are pushing forward, not pressed by time - just moving along so that things will not be the same and what was once believed unattainable now seems within reach, before eluding us once again. And we continue our pursuit.
It is not a matter of looking back to see how it was, how words portrayed the world and superficially extemporized its naturalness. The artist sees each moment as one among many, multiplying and reverberating with possibilities. However, there is no hesitation, as the movement towards change is ongoing. She works in a confessional mode, exploring notions of freedom and constraint, as well as the nature of time and what is absent, which are among her main themes. She engages in rigorous research as she builds her images and creates a record, an action, a poem, with silences so open to contemplation and so porous to the world and its conflicts. In her poetic art, Roberta Goldfarb enables a world – through images, snapshots of shapes and absences – in which the materiality and immateriality of things, rites, events and relations - emerge so that those who we believe are social beings are moving forward, challenging and forming intuitions and assumptions.
The artist investigates fissures in the sphere of our perception of the world. Her cartographic procedures flow with and respond to her surroundings. These are personal observations, but that relate to others, question the urgency of our duties, relations and blunders. Her work clearly shows that the limits of our time are means of escapism, with a nostalgic thread that leads to a desire for the past that paralyzes the possibilities of transformation and the revision of concepts.
In this individual exhibition, Roberta Goldfarb presents the path she has been following for more than three years, recreating it with her photographic lenses and introducing new conceptual dimensions to manufacture her images. Her artwork—Delusion (Engano), Cartography (Cartografia), Scream (Grito), Fables (Fábulas), Collection of Times (Coleção de tempos) and the installation “Walls of the House” (Cantos da Casa) are preambles for us to enter different times, processes of perceptions, accounts of the world. When it seems that there is not much to see, our eyes catch a glimpse of places where there are flashes of a presence.