Gauss Damascena (°1976, Boquim , Brazil) makes conceptual artworks and performances. By using popular themes such as sexuality, family structure and violence, Damascena touches various overlapping themes and strategies. Several reoccurring subject matter can be recognised, such as the relation with popular culture and media, working with repetition, provocation and the investigation of the process of expectations.
His conceptual artworks demonstrate how life extends beyond its own subjective limits and often tells a story about the effects of global cultural interaction over the latter half of the twentieth century. It challenges the binaries we continually reconstruct between Self and Other, between our own ‘cannibal’ and ‘civilized’ selves. By creating situations and breaking the passivity of the spectator, he often creates several practically identical works, upon which thoughts that have apparently just been developed are manifested: notes are made and then crossed out again, ‘mistakes’ are repeated.
His works are notable for their perfect finish and tactile nature. This is of great importance and bears witness to great craftsmanship. By choosing mainly formal solutions, he finds that movement reveals an inherent awkwardness, a humour that echoes our own vulnerabilities. The artist also considers movement as a metaphor for the ever-seeking man who experiences a continuous loss.
His works are based on formal associations which open a unique poetic vein. Multilayered images arise in which the fragility and instability of our seemingly certain reality is questioned. By parodying mass media by exaggerating certain formal aspects inherent to our contemporary society, he considers making art a craft which is executed using clear formal rules and which should always refer to social reality.
His works are on the one hand touchingly beautiful, on the other hand painfully attractive. Again and again, the artist leaves us orphaned with a mix of conflicting feelings and thoughts. By focusing on techniques and materials, he tries to develop forms that do not follow logical criteria, but are based only on subjective associations and formal parallels, which incite the viewer to make new personal associations.
His works are based on inspiring situations: visions that reflect a sensation of indisputability and serene contemplation, combined with subtle details of odd or eccentric, humoristic elements. By questioning the concept of movement, his works references post-colonial theory as well as the avant-garde or the post-modern and the left-wing democratic movement as a form of resistance against the logic of the capitalist market system.
His works are saturated with obviousness, mental inertia, clichés and bad jokes. They question the coerciveness that is derived from the more profound meaning and the superficial aesthetic appearance of an image. By examining the ambiguity and origination via retakes and variations, he tries to increase the dynamic between audience and author by objectifying emotions and investigating the duality that develops through different interpretations.
His works isolate the movements of humans and/or objects. By doing so, new sequences are created which reveal an inseparable relationship between motion and sound. By demonstrating the omnipresent lingering of a ‘corporate world’, he wants the viewer to become part of the art as a kind of added component. Art is entertainment: to be able to touch the work, as well as to interact with the work is important.
His works never shows the complete structure. This results in the fact that the artist can easily imagine an own interpretation without being hindered by the historical reality. By manipulating the viewer to create confusion, he makes works that can be seen as self-portraits. Sometimes they appear idiosyncratic and quirky, at other times, they seem typical by-products of American superabundance and marketing.
His works often refers to pop and mass culture. Using written and drawn symbols, a world where light-heartedness rules and where rules are undermined is created.
Wooster Goobs #he Exhibitions, Further Complicates The Reception Of Their Manifold Layers Of Meaning. By Emphasising Aesthetics, He Seduces The Viewer Into A World Of Ongoing Equilibrium And The Interval That Articulates The Stream Of Daily Events. Moments Are Depicted That Only Exist To Punctuate The Human Drama In Order To Clarify Our Existence And To Find Poetic Meaning In Everyday Life.
His Works Are Saturated With Obviousness, Mental Inertia, Clichés And Bad Jokes. They Question The Coerciveness That Is Derived From The More Profound Meaning And The Superficial Aesthetic Appearance Of An Image. By Parodying Mass Media By Exaggerating Certain Formal Aspects Inherent To Our Contemporary Society, He Tries To Create Works In Which The Actual Event Still Has To Take Place Or Just Has Ended: Moments Evocative Of Atmosphere And Suspense That Are Not Part Of A Narrative Thread. The Drama Unfolds Elsewhere While The Build-up Of Tension Is Frozen To Become The Memory Of An Event That Will Never Take Place.
His Works Are Given Improper Functions: Significations Are Inversed And Form And Content Merge. Shapes Are Dissociated From Their Original Meaning, By Which The System In Which They Normally Function Is Exposed. Initially Unambiguous Meanings Are Shattered And Disseminate Endlessly. Goobs Wooster Currently Lives And Works In Solvang.## %# Rosado Mike