Eduardo Fernandes Gallery, Sao Paulo Drawing

Gustavo von Ha was born in 1977, he currently lives and works in Sao Paulo. Double Crossing, or on the line through the mirror, or on how to unveil the crossing By Marcos Moraes In Double Crossing, Gustavo Von Ha displays two series of works whose common basis lie on looking into the crossing by means of crossfading, which is used to think over the relation with the image production process: the image/mirror that produces a kind of fusion between the "two sides". In this work proposal, upon removal of the tool used to start up the process, the fusion disappears, hence we may think about the meaning the strategy allows the artist to materialize on the surface of the paper, the image that emerges from that first picture offered for the production of this one, becomes an integral part of the world now. A birth, or rather a renaissance of the image that originally exists in time and space, but in this new proposed game is introduced to the eye with a new body, a subversion of its starting point. The reference universes chosen by the artist according to the leitmotif he proposed for this exhibition, composed of Tarsila do Amaral and Leonilson, can be understood in different ways, be it those explained by Gustavo Von Ha or mainly those offered to our prying and inquiring eye: after all, what are these "˜copied drawings' from these artists whose drawings are clearly identifiable by their production, by the personal characteristics of their images and their inclusion in the History of Art, especially the Brazilian art? How is this process carried out, which after having been seemingly identified, points towards explicit references such as the History of the Brazilian Art, investigations on the drawing and its potentialities in contemporary art, or even further, to questions encompassed by the inquiring procedures of contemporary production, such as reinterpretation, copying, appropriation, inverting, mirroring and other possible perceptions? Wouldn't it also be possible to point towards the artist's obvious personal interest in other matters such as memory, notions of beauty or nonsense? It is necessary to remember the idea of the mirror itself as the place where the image has no existence - within a physical/material perspective - and vanishes.