Anna Menezes interacts with her work buildings that start from concerns about what could be the movement in the static object, producing results from the transfer of photographic film to the brick, in a transformation of a two-dimensional photograph into a three-dimensional object.
An expansive game that transits between memory and displacement. A quest to understand the extent to which the return to the past, to memories, is constituted as an attempt to make possible what has always been configured as an impossibility: to rescue from the dispersion of the lived what presents itself as remains, ruins.
Proposing fragmented narratives and the dilation of chronological time, built traces synthesize the plastic dimension of the image in these fragments, exerting weight and transforming reality. A reconstruction of the traces that inhabit memory.
In a unique way, the look turns to past times in search of what is left, what still survives in the vestiges. An action that modifies the landscape in the sense of rebuilding, reexploring and repopulating these memories. Multiple instants.
The breadth of my relationship with the visual arts spans practical activity and academic development. I am from Brasilia capital of Brazil, 26 year old Latin American Lesbian woman I developed an artistic work focused on the insertion of movement in the static object as a way of exploring the corporeality, the psyche and the social relations of human beings, based on three-dimensional experimentation of photographic images based on the support as a corporal and conceptual structure. I evoke resignifications by granting my work a three-dimensional existence that allows my photography to exchange perceptions with the observer and with the exhibition space. I project the physical basis of the images in order to create a comparative poetics with the body, a body that cannot escape its functions as a social symbol, receptacle of history and instrument of transformation.