Waltercio Caldas' sculpture is a “drawing” in steel pipes, which both creates an internal space and defines the space around it.
Caldas visited Leirfjord in the spring of 1992. The visual impression that had the biggest impact was this: Distance: space between buildings, and how this space is perceived in relation to the massive scale and enormous dimensions of the surrounding landscape. To him, it seemed the distance between buildings had developed in accordance with long-standing traditions defining the social needs of humans (the houses must not be spaced too far apart), while also respecting the human need for privacy (the houses must be sufficiently far apart).
The sculpture entitled “Omkring/Around” defines the site by its mere presence: the sea in its immediate vicinity and the sky directly above it. However, it also creates a space that comes alive with the presence of humans.
Caldas' primary area of interest is perception; how do we view this or that, and how do we perceive what we see? His intention with the Leirfjord sculpture is to demonstrate how our focus shifts from one part of the object to another. At the same time, this constant change in focus also change how we perceive our position in relation to the environment we are in.
The sculpture's rectangular openings (doors, windows, or maybe frames or tools to sharpen our focus?) can lead us in or out, to look at what is close or what is far away. The distinctly man-made shapes of the sculpture also means the organic shapes of the natural environment surrounding the sculpture come into sharper focus. The artist has described this phenomenon as a clock, counting space instead of time.
About the artwork
“I am extremely pleased with the title of the artwork. My favourite aspect to “WHERE” is the transition from a verb to a noun. We should try translating WHERE to Norwegian, to see what happens to the sound and the meaning. Another option is “OTHERSIDEHOUSE” ... The translation will tell us something.
A “space” had been created, a go-to-place for producing and highlighting the distance between the elements of perception. The strongest visual element in Leirfjord is the distance between the houses, which, in relation to the majestic landscape, creates a strange version of proximity and distance, interconnected. The result is a kind of immense intimacy.
The sculpture unites earth, water, sky, location and human presence. The main point is the constant shift in significance, from one thing to the next.”
Born: 1946, in Rio de Janeiro, Brazil
Studied: Ivan Serpa at Museu de Arte Moderna – MAM, Rio de Janeiro
Lives and works: Rio de Janeiro, Brazil
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