The Vínculos Project is comprised of works that promote a conversation between existence and the landscape. Links of a double female – the woman and the landscape – stitched with the threads of an embroidery of loose ends.
Digitally manipulated images, printed on a variety of papers from Canson®, such as Canson® Infinity Aquarelle Rag , Canson® Infinity Rag Photographique e Canson® Infinity Canvas, were manually interfered upon through the use of embroidery techniques.
In this process, the intention is to shift the images of the people portrayed (African-descendent women from the city of Salto-SP, Brazil) from the real dimension in which they were at the moment when they were photographed to a space/dimension which is part of the artist’s memory, and which has been building her poetic vision.
This shift creates a tangible link to new textures and shapes, resulting from the fusion between spaces and realities, making use of needles and threads which stablish through the embroidery, a connection of memory and construction of the works in large format.
For Pola Fernandez, the works are a deep exercise of chaining between the artist and the women portrayed, and also to these landscapes of her memories that begin to become inhabited by them.
About Pola Fernandez:
Pola Fernandez is Chilean and lives in Brazil. Pedagogue and photographer, specialist in Visual Arts, Intermediation and Education, is fond of the African culture theme and of the memory of the African-American Brazilian woman.
Dedicated to the visual experimentation, she produces hybrid photographs, which gain contours and reliefs in interventions from the embroidery techniques on several supports, manufactured by the artist. Currently, she is an active member of the “Grupo Estudos em Fotografia do Ateliê Casa” (Photography Studies Group Ateliê em Casa), in Campinas, São Paulo, Brazil.
Her work “Maria”, which is parto f the series Atavos, was the winner in the Mestre Luís França Contest in 2016, from the Museu da Abolição in Recife (Abolition Museum), in Brazil.
A photograph from this series is already part of the Joaquin Paiva Collection, in Rio de Janeiro, Brazil.
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