TADÁSKÍA

In paintings on canvas and works made on sculptural supports in leather paper, the artist develops a vocabulary of forms that evokes a universe inhabited by presences, lending a kind of animism to abstract forms, as though beings associated with the animal and vegetal worlds—among them insects, butterflies, and serpents—were taking shape within them. Branches, twigs, fruits, liquids, and other sculptural forms extend this vocabulary into space, where what is suggested in the paintings acquires body and volume. Across surfaces, reliefs, and volumes, these elements traverse the boundaries between painting and sculpture, composing a field in which form, matter, and image converge.

espírito jardim humana also marks a subtle shift in Tadáskía’s recent practice, with the emergence of areas of white and exposed support. Visible in the cascas and in passages where the paint has been scraped away, these areas of emptiness become active compositional elements, introducing intervals of light and openness that alter the rhythm and atmosphere of the works. Around this core, sculptures combine organic matter, found objects, liquids, and elements made by the artist herself, bringing together materials that retain traces of growth, use, and transformation.

Courtesy Fortes D'Aloia & Gabriel.