JOSELY CARVALHO
multimedia artist
video
Glass Memory
(2018)
Glass is made by glass.
The video reconstructs the life of the glass shards through heat and fire.
The metamorphosis turns memories in thin, complex and organic sculptural amphoras that shelters a series of unknown smells.
This artwork was exhibited as part of the installations: Glass Ceiling (2018) &
Anoxia (2019)
Shards
(2015)
Estilhaços/Shards is a work in progress based in the artist's collection of broken wine glasses.Is composed by an olfactory artist book and site-specific installations.
The video integrates the installation and,
in parts, translates the project's visual experience.
New York Through the Nose
(2012)
Through the Nose is a series of
site-specific walks in different surroundings, neighborhoods and cities. Designed by the artist in different formats according to the chosen area, the sense of smell leads the individual and collective sensorial experience linking odors to memories that identify a place. 7 Through the Nose is a sequence of three walks in New York City. Starting in Times Square, taking the subway Line 7 and sniffing through downtown Flushing, Queens, the group immersed in the array of odors and memories encountered in the walk. 7 Through the Nose was presented by Elastic City.
Ich Kann
(2010)
The video is a record of Tracajá's traveling through the Gulf of Mexico to inspect the worst oil spill in U.S. history that has turned stretches of the area into a lifeless ocean. Tracajá, my avatar, is the name of a small yellow spotted turtle facing extinction from damming and water diversion projects in the Amazon basin. [...]
The astringent smell, a chemical-like odor that stings the throat, adds an unsettling feeling.
This video was exhibited as part of the installation: Nidus Vitreo (2010-2011)
Tracajá
(2002)
Tracajá is the name of a small yellow spotted turtle facing extinction from damming and water diversion projects in the Amazon basin.The video is projected through the gut of the turtle skeleton connecting memory and mythology.
It infuses the larger than life, static and translucent digital prints of Tracajá with a motion graphic. It is a construction of the displacement of this small nomad turtle from the Amazon basin that, in its process of extinction, searches for an imaginary shelter. This diary registers this solitary migration through metaphoric landscapes and unknown places that include Rio de Janeiro, India, Nepal and September 11 in New York. In it, emerge ancestral rhythms constantly interrupted by intervention and control of human beings.
This video was exhibited as part of the installations: Book of Roofs: Tracajá (2009) & Livro das Telhas: Tracajá (2003)
Cirandas
(1993)
Cirandas refers to an innocent childrens Brazilian game, played by moving and singing in a circle. In São Paulo, children inhale glue. In Recife, girls find in prostitution the only alternative for survival. In Salvador, some children play capoeira while others pay for the right to sleep in the streets.
In the United States, weapons substitute schoolbooks. When playing was taken by reality?
My work process has been to interpret the facts through the eyes of activists working with children in the streets in Brazil and young journalists interviewing other children at risk in the United States. The video was projected directly on a Xerox list placed on the wall.
The list is a record and memorial to 469 children in Rio de Janeiro and 360 children in Chicago abused and killed by gun violence during 1993.
Cirandas I & Cirandas II installations.
Xetá
(1999)
"When I was a child, I use to spend my vacations in Paraná. From that period, I remember the tall Araucária trees and the stories about the Xetá, an indigenous tribe that inhabited the Serra dos Dourados region, where my father had coffee plantations. They were identified and classified by the scientific community, at the end of 1950s, as a group still living with Stone Age habits. The invasion of their land happened as part of the expansion of coffee farms and government incentive to land development. Today, fifty years later, Xetá is an extinct tribe. I was told that, perhaps, one woman is still alive, living today in a mental hospital. The installation, through a video projection in a corner wall, brings the presence of this woman. The digital image suggests her psychic labyrinth while I enter into my computer looking for the layers of our solitude."
This video was exhibited as part of the installation: Xetá (1999)