The series exposes the process leading to paper work and written words beginning in 2010, and anticipates the current research dedicated to understanding the clash between culture transmission via orality (traditional peoples) and paper knowledge documentation. (civilization). Discussion is detonated by the historical observation about the tools of cultural domination in Brazil and in the world.

The writings contained in the pieces take place either as collections of reports (via audio capture), sometimes as writings of interlocutors (donated collaboratively), sometimes as own writings (elaborated in loco), and sometimes silences (black paper), always Determined by the landscape that is experienced. The making of the papers goes through the manual cutting process. It is in the confrontation in duration dictated by the craftsmanship of the cut of the Chinese paper, that the reading of the stretches is unleashed one last time, already fragmented. When interrupted by the cut, the writing is returned to the interlocutor in delicate and fragile pieces placed on the table, unprotected. Just like in the guts, the roles act in the clash with the interlocutor. In the sculptural pieces, the bewilderment is proved by the gaze, which perceives its own limitation, the fault between the eye and the text. The impossibility of accurately transmitting / acquiring anything.

The (previous) action of saying things (orality) is, as long as it is placed on paper (documented), simultaneously posed to the negation of a possible reading in completeness (by the intervention action on the possible document) of the one who accesses it. The content is transmitted in fragments and has gaps to be filled by the interlocutor, in the same way that happens in orality. The pieces on paper seem to be a proposal suggested by the impossibility of communication, set on a scale inaccessible in completeness by man, even if this one is dedicated to the attempt as arduous as to excuse to dominate it. Today these pieces also refer to the difficulties, in the face of the excess, that we have found in communicating, and even situating ourselves, between beliefs, traditions and certainties.

The pulsating recent works of Paula Scamparini comes in parallel with her theoretic research about landscapes. Her work, in this exhibition, is part of “the 23 nights” series, the main reverberation of the period the artist lived in residency in Portugal.

Trying to read the fragile cut writings that constitute the work, it’s noticeable the presence of a landscape made of people, moments, impressions and reflexions. The formal structure, in parts, fluid, fragile and touching, reflects the origin and process of this work piece. The paper piece, which is as skin as vocal cord, is filled with the desire of the other and of some kind of eligibility. How much of any kind of language is left in the paths it goes through? Paula’s major interest maybe is the real, true contact, the intimate exchanges with the alterity: as domain and destiny of their works, being stimulates and stimulating awakenings.