8th - 11th September
: Week 9 of
The Drawing Shed
The work stems from Patricia Azevedo's confusion, as a young woman, between the allotment sheds of Europeans and the favelas of Latin America. Visiting Europe for the first time she was amazed to see favelas in such a wealthy place. Coming from Brazil, she had no means of knowing that Europeans are so rich that they use these ‘houses’ to carry out hobbies or store unwanted stuff.
Azevedo will photograph her home town, Belo Horizonte, through a model of the Drawing Shed. This small, fragile recreation will act as a viewing tube for her to record images of shed-like structures which will be e-mailed to Clare Charnely (located in Leeds) who will project and trace these images onto The Drawing Shed.
In Brazil, the model's shape and angle of view will reflect the physical dimensions and orientation of the Drawing Shed in Leeds. The process of mapping aspects of Azvedo’s location in Brazil onto Charnley’s in PSL builds a fictional overlap between the two places. It will bring them together in a way that pits the desire to make direct translations between cultures against the fact that this is not always possible. Cultural difference is not necessarily delightful. It can result from, and point to, gross inequality.
Clare Charnley and Patricia Azevedo have an ongoing artistic collaboration working on issues of translatability and misunderstanding. They are interested in cultural ignorance as a means of generating situations of mutual vulnerability and in how the act of misunderstanding can be seen as creative or revelatory.
>>CLICK HERE for Clare Charnley's website
>>CLICK HERE for The Drawing Shed blog
>>CLICK HERE to go back to The Drawing Shed calendar page.
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'Inland 4,' by Patricia Azevedo.
'Inland 3,' by Patricia Azevedo.
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