Oblique Limit (Curatorial Text)
Oceanography uses the term hangover to classify the violent event that occurs physically close to the coast after extreme meteorological phenomena, when antagonistic flows collide, transporting sediments directed to the land near the bed. They are return flows resulting from the abnormal movement of sea waves in the surf area, generating an undercurrent that affects waves everywhere close to the boundaries between the ocean and the continent.
In the series Limite Oblíquo (2020), the artist Vicente de Mello displays his collection of organic sediments from hangovers, collected over the years, on the Itacoatiara beach, in Niterói, on the light table. Such compositions are transmuted into images that have their genesis linked to the shocks of forces on the sea. The light table geometry is the homogeneous light source, with a milky surface where the arrangement of the hangover ruins dissipates the luminosity in oblique directions, preventing the light from reaching the digital camera lens, thus reconfiguring contrasts from the obstruction of luminosity. .
Vicente's work begins to give life to the refuse of the sea, which is named, acquiring vivid contours and evoking walks on a horizon that includes distinct characters, from historical and family, such as Dorival, Virginia, Balthrop, Mendieta, Sambaqui Elisa; narratives of classical antiquity, Minotauro, Homero, Eco, Arqueo; geographical references, Mangue, Guanabara, Spain, Cipó, as well as allusions to proto-history, Meteoro, Chumbo and 4.9 million.
Images of dramatized forms that, thought together with the ideas of the anthropologist Arturo Escobar, show the emergence of the need to widen the epistemological fields, distancing itself from the scientific categorizations arising from the systematization of knowledge undertaken throughout modern history. In Limite Oblíquo, the expansion of the ways of understanding the world is seen from an anti-hegemonic perspective, critical to the canonical scientific foundations. His need for fabulation conceives a visual epic, where the ways of narrating create a kaleidoscope between the real and the mythological. Light and darkness continue to follow the flows that are rearranged with each new episode created, where the singularity and the dilution in the horizon of events present themselves as scenes from a shadow theater.
