Two Eyes Two Mouth
2015 - Painting (Painting)
41 x 42 x 8 cm
Erika Verzutti
Made in cast bronze, Two Eyes Two Mouths provokes a strong sense of fleshiness as if manipulated by the hand of the artist pushing her fingers into wet clay or plaster to create gouges that represent eyes, mouths and the female reproductive organ. Equally, there is a semblance of fruits—their succulence and fragility. While the work is sensual, the matte bronze surface refuses any expectation of softness. The sculpture was partly inspired by a viewing of a make-up tutorial, thus bringing into play an interest in make-up, disguise and the face as mask. Experimenting with the body, nature and our environment, Verzutti examines the aesthetics of our society. Through her use of textures, color, contour, weight and consistencies, the artist references the mid-twentieth century Brazilian movement Neo-Concretism to locate the temptation of sensuality, the coldness of brutality and the image of flesh in the landscape and in society.
Erika Verzutti (b. 1971, Sao Paolo, Brazil) is a sculptor of haptic floor standing and wall hung sculptures that refer to principally, the female body. Openings, organs and skin are references that recur throughout her work, while also remaining interested in recalling images the natural world, fruits, plants and trees to suggest a symbiosis between the two. The works often have a strong sexual content and suggest physical sensations and provoke fantasies. They are playful, ritualistic, fetishistic and inviting yet repelling touch at once and the same time. As José August Ribeiro has written on her work: ‘the work is succulent and acid sweet and sour and bitter, in several senses.’
Colors:
Related works featuring themes of: » Andes Region, » Collage, » Installation Art, » Multiple Styles, » Brazilian
© » KADIST
Clarissa Tossin
2017Clarissa Tossin’s film Ch’u Mayaa responds to Frank Lloyd Wright’s Hollyhock House (constructed 1919–21) in Los Angeles, an example of Mayan Revival architecture...
© » KADIST
Clarissa Tossin
2012In Fordlândia Fieldwork (2012), Tossin documents the remains of Henry Ford’s rubber enterprise Fordlândia, built in 1928 in the Brazilian Amazon to export cultivated rubber for the booming automobile industry...
© » KADIST
Fernanda Gomes
2013For this floor based work, Gomes has taken two lengths of bamboo and tied them together using linen thread...
© » KADIST
Marcelo Cidade
2014450 Hayes Street (excavation site) by Marcelo Cidade is a large scale photograph documenting the artist’s excavation of a parking lot located at 450 Hayes Street in San Francisco, a former section of the city’s Central freeway and current condominium site...
© » KADIST
Nicolás Consuegra
2012A residency program in the blazing hot city of Honda, Colombia, inspired artist Nicolás Consuegra to consider the difficulty in understanding the needs of a distant community...
© » KADIST
Valeska Soares
2012Relying on repetition and repurposed materials, Soares works to interrogate time—its measurement, its passing, and its meaning...
© » KADIST
Pak Sheung Chuen
2008Pak created New York Public Library Projects (NYPLP) (2008) during a residency in New York, using public libraries as exhibition spaces and the books they house as raw materials...
© » KADIST
Milena Bonilla
2009Milena Bonilla’s discursive practice explores connections among economics, territory, and politics through everyday interventions...
© » KADIST
Mateo Lopez
2012With Roca Carbón (Charcoal Rock, 2012) and Roca Grafito ( Graphite Rock , 2012), López plays with our relationship to inert and unremarkable objects such as rocks...
© » KADIST
Pak Sheung Chuen
2017The series Nightmare Wallpapers represents a shift if Chuen’s practice, allowing the artist to immerse himself in an “artistic pilgrimage of self healing” following the failure of the 2014 Umbrella Movement...
© » KADIST
Felipe Arturo
2012Defined as entropy, the second law of thermodynamics proposes that energy is more easily dispersed than it is concentrated...
© » KADIST
Claudia Joskowicz
2007The primary interest in the trilogy is Joskowicz’s use of cinematic space, with long tracking shots that portray resistance to habitual viewing experiences of film and television...
© » KADIST
Wong Wai Yin
2021Drawn from the widely circulated images of protests around the world in support of women rights and racial equality, the phrase I can’t believe we are still protesting is both the title of Wong Wai Yin’s photographic series and a reference to similar messages seen on protest signages...
© » KADIST
Claudia Joskowicz
2008The primary interest in the trilogy is Joskowicz’s use of cinematic space, with long tracking shots that portray resistance to habitual viewing experiences of film and television...
© » KADIST
Mauricio Ancalmo
2010War Footage is a series of wall-mounted works composed of 16mm film leader, tightly bound to flag-shaped panels by the artist...
© » KADIST
Nicolás Consuegra
2008In his project Instituto de Vision (2008), Consuegra investigates how modernism gave rise to many new technological forms of vision, most notably the camera, yet also resulted in the disappearance of outmoded forms of vision...
© » KADIST
Marcelo Cidade
2010Marcelo Cidade’s sculpture Abuso de poder (Abuse of Power, 2010) is a mousetrap elegantly crafted in Carrara marble...
© » KADIST
Claudia Joskowicz
2009The primary interest in the trilogy is Joskowicz’s use of cinematic space, with long tracking shots that portray resistance to habitual viewing experiences of film and television...