Ramona Soreso (°1998, Rio De Janeiro, Brazil) is an artist who works in a variety of media. By manipulating the viewer to create confusion, Soreso makes works that can be seen as self-portraits. Sometimes they appear idiosyncratic and quirky, at other times, they seem typical by-products of American superabundance and marketing.
Her artworks doesn’t reference recognisable form. The results are deconstructed to the extent that meaning is shifted and possible interpretation becomes multifaceted. By parodying mass media by exaggerating certain formal aspects inherent to our contemporary society, her works references post-colonial theory as well as the avant-garde or the post-modern and the left-wing democratic movement as a form of resistance against the logic of the capitalist market system.
Her works are characterised by the use of everyday objects in an atmosphere of middleclass mentality in which recognition plays an important role. With a conceptual approach, she seduces the viewer into a world of ongoing equilibrium and the interval that articulates the stream of daily events. Moments are depicted that only exist to punctuate the human drama in order to clarify our existence and to find poetic meaning in everyday life.
Her works directly respond to the surrounding environment and uses everyday experiences from the artist as a starting point. Often these are framed instances that would go unnoticed in their original context. By demonstrating the omnipresent lingering of a ‘corporate world’, she tries to increase the dynamic between audience and author by objectifying emotions and investigating the duality that develops through different interpretations.
Her works sometimes radiate a cold and latent violence. At times, disconcerting beauty emerges. The inherent visual seductiveness, along with the conciseness of the exhibitions, further complicates the reception of their manifold layers of meaning. By examining the ambiguity and origination via retakes and variations, she creates intense personal moments masterfully created by means of rules and omissions, acceptance and refusal, luring the viewer round and round in circles.
Her works are an investigation into representations of (seemingly) concrete ages and situations as well as depictions and ideas that can only be realized in art. With Plato’s allegory of the cave in mind, she makes work that deals with the documentation of events and the question of how they can be presented. The work tries to express this with the help of physics and technology, but not by telling a story or creating a metaphor.
Her works are on the one hand touchingly beautiful, on the other hand painfully attractive. Again and again, the artist leaves us orphaned with a mix of conflicting feelings and thoughts. With the use of appropriated materials which are borrowed from a day-to-day context, she tries to approach a wide scale of subjects in a multi-layered way, likes to involve the viewer in a way that is sometimes physical and believes in the idea of function following form in a work.
She creates situations in which everyday objects are altered or detached from their natural function. By applying specific combinations and certain manipulations, different functions and/or contexts are created. By emphasising aesthetics, she often creates several practically identical works, upon which thoughts that have apparently just been developed are manifested: notes are made and then crossed out again, ‘mistakes’ are repeated.
Her works are saturated with obviousness, mental inertia, clichés and bad jokes. They question the coerciveness that is derived from the more profound meaning and the superficial aesthetic appearance of an image. By taking daily life as subject matter while commenting on the everyday aesthetic of middle class values, she often creates work using creative game tactics, but these are never permissive. Play is a serious matter: during the game, different rules apply than in everyday life and even everyday objects undergo transubstantiation.
Her works demonstrate how life extends beyond its own subjective limits and often tells a story about the effects of global cultural interaction over the latter half of the twentieth century. It challenges the binaries we continually reconstruct between Self and Other, between our own ‘cannibal’ and ‘civilized’ selves. By applying abstraction, she presents everyday objects as well as references to texts, painting and architecture. Pompous writings and Utopian constructivist designs are juxtaposed with trivial objects. Categories are subtly reversed.
Her works never shows the complete structure. This results in the fact that the artist can easily imagine an own interpretation without being hindered by the historical reality.
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