MATE NASCIMENTO (°1982, CARACAS, Venezuela) makes paintings, performances, mixed media artworks and conceptual artworks. By applying abstraction, NASCIMENTO wants to amplify the astonishment of the spectator by creating compositions or settings that generate tranquil poetic images that leave traces and balances on the edge of recognition and alienation.
Her paintings doesn’t reference recognisable form. The results are deconstructed to the extent that meaning is shifted and possible interpretation becomes multifaceted. By applying a poetic and often metaphorical language, she creates work through labour-intensive processes which can be seen explicitly as a personal exorcism ritual. They are inspired by a nineteenth-century tradition of works, in which an ideal of ‘Fulfilled Absence’ was seen as the pinnacle.
Her works appear as dreamlike images in which fiction and reality meet, well-known tropes merge, meanings shift, past and present fuse. Time and memory always play a key role. By using an ever-growing archive of found documents to create autonomous artworks, she creates intense personal moments masterfully created by means of rules and omissions, acceptance and refusal, luring the viewer round and round in circles.
Her works are often classified as part of the new romantic movement because of the desire for the local in the unfolding globalized world. However, this reference is not intentional, as this kind of art is part of the collective memory. By referencing romanticism, grand-guignolesque black humour and symbolism, she reflects on the closely related subjects of archive and memory. This often results in an examination of both the human need for ‘conclusive’ stories and the question whether anecdotes ‘fictionalise’ history.
Her works are an investigation of concepts such as authenticity and objectivity by using an encyclopaedic approach and quasi-scientific precision and by referencing documentaries, ‘fact-fiction’ and popular scientific equivalents. MATE NASCIMENTO currently lives and works in BARCELONA.
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