Belo Horizonte, 1974; lives in São Paulo
Since the early 2000s, Cinthia Marcelle has been constructing her oeuvre with the use of a wide variety of media, ranging from installation to sculpture, from photography and video to performance. The artist works with the invention of images and manages to draw powerfully poetic scenes with the elements she depicts and the materials she uses. Time and again, the artist explicitly seems to create circumstances or small model-like configurations in order to verify things. A model is always the abstract representation of a system from the maker’s viewpoint. It helps to simulate reality, to question and understand. This is the strength of Marcelle’s work, always beginning with curiosity, with an idea or a thought transformed into an experiment; an experiment that ultimately translates back into an image, a clear statement that art is all about the act of setting out to question things. Answers are given only insofar as they are necessary to stimulate further questions.
Most of Marcelle’s works use clear instructions as departure points. In Fonte 193, for example, the artist hired a fire truck to drive constantly in a perfect circle with its hose jetting water towards the center, provoking the image of a fountain in reverse. The scene is shot from up above and within an iron ore mine in the interior of Minas Gerais State. Over time, the red earth, which fills the entire picture frame, gets muddy and the circular movement of the truck increasingly difficult. The film is presented in a continuous loop, as an animated drawing created through the man-machine-earth equation. The changing light of the scene clearly locates the action in time. As other video works of Marcelle’s Unus Mundus series – all investigations on simultaneity and synchronicity – Fonte 193 is marked by a Sisyphean degree of absurdity.