Lot
Yasmin Siegl
Silence Time
60 x 100 cm
coffee, acrylic paint and pastel chalk on canvas
signed on back
2026
Three recurring presences structure my research: stone, light and blue. I understand these elements as silent forces that organize the painting experience. They do not appear as closed symbols, but as matters of thought, fields of tension and ways of approaching what remains, reveals or escapes.
I‘m interested in the density. There is a kind of concentrated time in it, a memory prior to language, a presence that resists disappearing. The stone carries the weight of the world, but also its duration. She seems to keep what she has passed without letting herself be consumed entirely by the movement. In my painting, the stone appears as a body, trace, surface and obstacle. It is what remains when the landscape changes, when the light moves, when the image threatens to dissolve. Its presence introduces a mineral slowness, another measure of time, closer to sedimentation than to the event.
Light, in turn, operates as a passage. It not only illuminates the forms, but destabilizes them. Light makes visible and at the same time returns things to indeterminacy. It‘s threshold, suspension, crack. I am interested in the light that does not simply clarify and that creates zones of appearance, as if each image was always about to retreat to the mystery. In painting, I seek this unstable vibration: the point at which matter begins to breathe, at which the surface starts to suggest depth, distance, atmosphere.
Blue crosses my production as an immersion field. I think of it as a temperature of the gaze, a quality of silence, an opening to daydreaming. Blue does not expand. He leads perception to an intimate distance, to a space where the gaze slows down and no longer seeks to immediately recognize what he sees. There is a suspension force in the blue, as if it sets a pause inside the image and invites the body to stay there longer. It expands the field of imagination because it preserves a zone of indeterminacy, a space where the sensitive continues to move.
Stone, light and blue thus form a kind of affective geography. From them, I build landscapes that do not intend to represent a specific place, but to establish a space of experience. They are landscapes that are born from the encounter between memory, matter and sensitivity; Images that transit between the lived and the dreamed, between recognition and invention. A place that forms within us when an image crosses us.
I‘m interested in the density. There is a kind of concentrated time in it, a memory prior to language, a presence that resists disappearing. The stone carries the weight of the world, but also its duration. She seems to keep what she has passed without letting herself be consumed entirely by the movement. In my painting, the stone appears as a body, trace, surface and obstacle. It is what remains when the landscape changes, when the light moves, when the image threatens to dissolve. Its presence introduces a mineral slowness, another measure of time, closer to sedimentation than to the event.
Light, in turn, operates as a passage. It not only illuminates the forms, but destabilizes them. Light makes visible and at the same time returns things to indeterminacy. It‘s threshold, suspension, crack. I am interested in the light that does not simply clarify and that creates zones of appearance, as if each image was always about to retreat to the mystery. In painting, I seek this unstable vibration: the point at which matter begins to breathe, at which the surface starts to suggest depth, distance, atmosphere.
Blue crosses my production as an immersion field. I think of it as a temperature of the gaze, a quality of silence, an opening to daydreaming. Blue does not expand. He leads perception to an intimate distance, to a space where the gaze slows down and no longer seeks to immediately recognize what he sees. There is a suspension force in the blue, as if it sets a pause inside the image and invites the body to stay there longer. It expands the field of imagination because it preserves a zone of indeterminacy, a space where the sensitive continues to move.
Stone, light and blue thus form a kind of affective geography. From them, I build landscapes that do not intend to represent a specific place, but to establish a space of experience. They are landscapes that are born from the encounter between memory, matter and sensitivity; Images that transit between the lived and the dreamed, between recognition and invention. A place that forms within us when an image crosses us.
Current bid
R$ 3.500
R$ 3.500
