07/10/2015 28' 43''

'The body of my work, composed of drawings, films, canvases, three-dimensional objects, and photographs, responds to an essentially visual investigation into the possibility of seeing and representing beyond the immediate setting, beyond the physical and objectual world. My creations are characterised by a marked procedural quality'.

Patricia Dauder (Barcelona, 1973) is a patient observer of reality and its phenomena. Like a metaphysical ethnographer, she embarks on long cycles of research that result in the creation of multidisciplinary creative cosmologies. For example, a study of the passing of time and the traces it leaves on our natural and emotional landscapes has given rise to a series of works related to remains, erosion, and ruins. They include the film 'Sporadic' (2009), the sculpture 'Maqueta #1' (2014) –which forms part of the MACBA Collection– and 'Maqueta #2' (2014), as well her current ongoing intervention in an abandoned lot in L'Hospitalet de Llobregat, 'Trabajos Subterráneos' (2015 – in progress).

Travel also plays an important role in Dauder's work. 'Wanderlust' is the German loanword that we use to refer to a strong desire or urge to roam and explore the world. In Dauder's case, this desire is expressed in the form of imagined as well as physical journeys. 'Les Maliens (A Script)' (2006), is an animation film made up of a series of drawings that the artist made in her studio, based on her ideas of what she imagined Mali must be like. It wasn't until 2007 that Dauder managed to travel to the African country with a camera under her arm. There she filmed 'Les Maliens (A Film)' (2007), a 16 mm essay showing her real encounter with the place. Other works like 'Garden Island' (2012), Green Kauai (2012), Orange Kauai (2012) and 'Plymouth' (2011) also explore this dual, imagined-experienced aspect of travel.

These places, in turn, lead us to a motif that runs through Dauder's entire body of work: her interest in nature. Dauder advocates a certain return to more direct and essential ways of relating to the natural environment. A plea that is reflected in her travels and in her chromatic choices, in her physical and artisan approach to materials (paper, graphite, cardboard, fabric, plaster, timber, air, soil), and in her determination to achieve seemingly neutral forms with which she creates a certain fiction of spontaneous natural generation, or 'derealization' as Teresa Blanch would say.

Dauder creates and destroys, draws and erases, and adds and deletes, to shape essential pieces that are abstract in appearance and, in their ambiguity, end up projecting multiple associations and iconographies in the spectator’s mind.

Timeline

00:53 'Model #1'
03:14 Past, ruins and traces
04:33 An abstract appearance
06:18 Put some order in all that chaos
07:34 Time, one of the biggest sculptors
08:35 Experimenting with materials
11:35 Colors and places
13:46 Travelling and wanderlust
16:43 Capturing things with a camera
18:42 Film: a particular way of registering time and light
20:04 There’s a lot of knowledge in nature
21:50 Beyond documentary
22:25 Training years
25:11 The seventies, an inspiring period

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