“The drawing has two main moments.
In the first moment, everything is under movement, while the drawing is being done. A certain way of thinking is released. A type of thought that aims at producing; and that only exists to the extent that it does produce something.
Once produced, this object seems to always convey the same message: the ability to remain over time. Therefore, the movement ceases. The movement of the first moment is replaced by a stable constitution. In the place where the work has been developed, a composition emerges, a new state, a new being that aims at settling over a boundless time.
In the interval, however, there is a third moment that is as ephemeral as a point on the timeline ; a point that is located exactly between what was moving and what is beginning to stabilize.
The poetics and the aesthetics, the being and the becoming, the drawing and what’s drawn: it is in this mysterious and boundary point where two states are superimposed, that a composition emerges, positions and defends itself, in a precarious balance between life and matter. Composition is the decision to extract everything that endures in time from the movement and, in turn, extract the revolutionary movement from what intends to remain intact.
Just there, between-those-states, on this precise instant between-those-moments, similar to the one that unites dream and wakefulness and that is both the limit and transition between the self and the world, something points to the form that the drawing should have, that right constitution that condenses in itself the flow of life and the integrity of all bodies. ” Carlos Issa
Carlos Issa was born in São Paulo, Brazil, where he lives and works. His research incorporates abstract drawing , sound art, experimental design and photography. He has a published a series of artist’s books that can be found in institutions such as Printed Matter in New York, Motto, in Berlin, as well as Tijuana, in São Paulo.
He is well known by his experimental music project funded em 1999 called Objeto Amarelo that explores the various layers of sound either in the studio and in the stage and was one of the first groups to be presented in art galleries in Brazil.
His practice also operates within a broader field; he has organized and participated in independent exhibitions applying DIY exhibition display methods which anticipated, at the end of the 1990’s, the multiplicity of means and vehicles for the circulation of art, both inside and outside of the market. He has worked as a curator of experimental music events and art collectives such as “Supercollina”, at Galeria Logo, and “Conversão”, at Galeria Sé, both in São Paulo, Brazil. He has participated in group exhibitions both in Brazil and abroad, such as “Tropical Funk” at Whitechapel Gallery in London and “Dobra”, at Ferme du Buisson, in Paris. He had a solo exhibition that was held in 2017 at NADA. Since 2018 he has being represented by Sé and had his first solo show fully dedicated to his contemporary visual practice.