Magda Delgado, «Dissolução IV», 2017. Tinta-da-China sobre gesso, 40 x 30 cmMagda Delgado, «Dissolution IV», 2017. India ink on plasterboard, 40 x 30 cm
Magda Delgado, «Requiem», 2017. Xisto, chiffon preto e pedra rolada, dimensões variáveisMagda Delgado, « Requiem», 2017. Shale, black chiffon and stone, variable dimensions
Magda Delgado, «De miseria humanea conditionis depois de Eustache Deschamps», 2017. Tinta-da-China e tinta de têxteis sobre linho puro, cobre, linha de algodão de bordar, 22 x 15 cmMagda Delgado, «De miseria humanea conditionis after Eustache Deschamps», 2017. India ink and textile ink on pure raw linen canvas, copper stick, cotton embroidery thread, 22 x 15 cm
Magda Delgado, «Dissolução VI», 2017. Collage sobre vidro e malha de metal, 12 x 9 cmMagda Delgado, «Dissolution VI», 2017. Collage on glass and metal net, 12 x 9 cm
Magda Delgado, «Last Beauty before The End of Humankind», 2017. Instantâneos (Polaroid Originals — B&W 600), 10,8 x 8,8 cmMagda Delgado, «Last Beauty before The End of Humankind», 2017. Instant film (Polaroid Originals — B&W 600), 10,8 x 8,8 cm
I left home with a strange sadness upon my shoulders and climbed as much as I could, with that weight, to the top of the hills carrying a Polaroid camera. In the mist I felt the surrounding images were profoundly beautiful and, maybe, part of that beauty was due to the farewell I was undertaking.
The landscape told me that the world would end and to take a relic from there, to take the images to another dimension. With this constant heft of sadness, I used the instant pictures to fix those elements: the characters of the unraveling of a long tale, to be seen by an undefined reader from another time. All things, in their farewell and resignation, flew through the air until they were caught on the Polaroid film. The cows, these eternal slaves of Man, as Sokurov[1] would say, stopped eating and stared at me for that posterior moment: the Beautiful-World and the Ugly-World were about to end.
Magda Delgado, «L’Ermite Devant le Mystère», 2017Magda Delgado, « L’Ermite Devant le Mystère », 2017
Magda Delgado, «RELIQUIAE I (Relíquia)», 2015. 30 x 30 x 6 cmMagda Delgado, «RELIQUIAE I (Relic)», 2015. 30 x 30 x 6 cm
Magda Delgado, « La Forêt de l’Ermite », 2017. Carvão, pastel e pigmento sobre secção de pinheiro, 30 x 30 x 6 cmMagda Delgado, « La Forêt de l’Ermite », 2017. Charcoal, soft pastel and pigment on section of pine tree, 30 x 30 x 6 cm
Magda Delgado, «PIĔTĀS (CORPUS)», 2014-5. Madeira, tecido de algodão, pregos e projecção de luz de eclipse com um espelho, no dia 20 Março 2015Magda Delgado, «PIĔTĀS (CORPUS)», 2014-5. Wood, cotton cloth, nails and mirror projection of eclipse light on the 20th March 2015
Footnotes
^ «Элегия дороги» (2001) - Александр Сокуров / «Elegy of a Voyage» (2001) – Aleksandr Sokurov
