Tadáskía

Tadáskía

Ocellets

The artist presented the work produced during her residency and on 19 February at 1 p.m., the public attended the “aparição”(performative action)

“I remember my father Aguinaldo Morais in my childhood raising birds in the cage – he hunted them close to home and also bought, traded or sold them at the fair.  There was a moment, however, when he decided: “it will be better to see them free”.  That’s when I never saw my father trapping any birds again.
Ocellets is an affectionate way of calling birds in Catalan.  It is also the name of the square next to where I am having a residency in Barcelona.  Which made me think of people and food the way I think of birds migrating from one place to another, soon changing language and connivance.
At the exhibition I gathered fruits and vegetables so that people can take them, these foods being renewed on the next day.  There are also red eggshells of chicken, drawn with a golden line that starts from a center and is distributed along the edges; and the hedgerows, reassembled with colors and lines that go in and out: in Barcelona I noticed that it was common for people to use those hedgerows to prevent the entry of something unknown.
And in my interest to enter, to get to know a land and its foreign language, I painted the walls with oil painting, enunciating an exchange between fruit, flower and winged beings;  I also drew on torn and scattered papers, with playful lines and colors, delivering imaginations of the Ocellets migrating and crossing across the ocean
.” Tadáskía

Tadáskía (Rio de Janeiro, 1993) Formerly known as max wíllà morais, she is an artist, trans, and a writer. Her universe of imagination is backed by visible and invisible things. Whether in drawings, photographs, installations, textile works, or apparitions, Tadáskía establishes a relationship with the matter that can arise from the encounter, creating Afro-diasporic imaginations and syncretic spirituality around her. In her drawings of volatile and sensitive qualities, often made with simple materials, such as nail polish and colored pencils, live groupings that are sometimes complementary, sometimes dissident. On the surfaces that are cut and torn, the artist suggests other notions of time and space in the face of binarisms, also presenting questions in the fields of form, line, and color. Tadáskía, who holds a degree in visual arts from the State University of Rio de Janeiro, has participated in several group exhibitions in Brazil, including Hábito/Habitante (EAV Parque Lage, 2021), curated by Ulisses Carrilho; and Uma história natural das ruínas (Pivô, São Paulo, 2021), curated by Catalina Lozano. His work is being presented in Europe for the first time.

Residency in collaboration with Sé Galería (Brazil).

Photo: Eva Carasol