I know the pieces fit
(...) Will set two lovers' souls in motion
Disintegrating as it goes
Testing our communication
The light that fueled our fire then
Has burned a hole between us so
We cannot see to reach an end
Crippling our communication
(...)The poetry
That comes from the squaring off between
And the circling is worth it
Finding beauty in the dissonance (...)
Tool – «Schism» do álbum Lateralus (2001)
The idea of symbiosis, fusion and union haunts us in the form of need or desire. However, to glimpse beauty in dissonance will always be more difficult than to find it in harmony. This interpellation is present in the work of Bruno Cecílio, PASSION, a video that evokes an image of passion that is at once enchanting, idealized and luminous but also disturbing, raw and haunted. A resonance of the simple and complex form that the experience and the understanding of human relations can acquire.
The first suggestion is clear from the more immediate observation of the two objects, which, in the sequence, symbolically lend their presence to the representation of human bodies. Through their fluidity and fascinating circular movement, we see in this image-mirage the vital mobility and hypnotic rotation of these two beings, wrapped in a dance of attraction centered solely on itself.
Let us not call them lovers, but radiant bodies. As if nothing else existed, they are subject to a centripetal force, moved by the radiance of desire and the fascination that a loving, erotic, sexual, relationship can incite. Balanced and united, they represent the center, the harmony of the circle, the perfect figure or the movement without beginning or end which, like their activity and the cosmic cycles, evokes mutation and vitality but also a sense of permanence and eternity.
However, in contrast with this elegy of full enchantment, of the magic and existential fullness of the radiant bodies, where everything seems to fit into a shared dream, we can also recognize another more disturbing perspective. Circular, repetitive, it configures a closure of its own world, while letting us perceive both a feeling of isolation and fading of consciousness of the outside world, as well as the inexistence of a potential for openness and evolve that, like Roland Barthes remarks, exists in a lover’s discourse which he deems closed, tautological, repetitive, and even foolish.
Equally troublesome is the view from outside that we can construct from the artificial environment in which these beings are. Their simultaneous and paradoxical condition as subjects and objects of this narrative stages a game of choreographed bodies in an isolated laboratory space of electromagnetic radiations and vibrating molecules. A true machine of illusion that leaves us in expectation due to the unpredictability of the outcome, between the possible repetition and stability of this same image or the disconcert of its explosion.
Sandra Vieira Jürgens
