1. What aspects does this artwork integrate (formally, plastically, or conceptually )?

This artwork is part of a long-standing research in the field of Drawing. In it, I explored various aspects that interest me, such as the possibility of a drawing being a polyhedron, that is, having many faces - many layers of readings, being multidimensional/multidirectional, both from a material standpoint and in its interpretation. Each of these 32 drawings has an individual reading, as well as being intrinsically linked, enhancing the integrated reading of all of them, as if they were one single (multidimensional) drawing. / And they are. / These drawings also incorporate other material/objectual aspects that have always interested me in Drawing:

\ with the cutout - the void as drawing, the margin/edge of the sheet as a line -,

\ the direct/original relationship with another object body - these drawings are made by taking the shape of segments of a truncated tree branch -,

\ and also the intimate/in tension relationship between — (1) the limit of the body that was on that sheet, — (2) the line produced by the graphite pencil that, pressed against this body, outlined its shape/silhouette, and — (3) the line of the cutout made in order to follow these first two lines (the first virtual, the second formal), without ever touching them.

2. Where is it embedded? (what was the genesis of its creation, the milieu, the context )

In the relationship between drawing and sculpture.

Between image and object.

Between line and body.

3. What Question or Action does it pose?

It proposes diving into the space between things/the invisible space, potential, between tangible bodies.

Tânia Geiroto (Portugal, 1989) lives and works in Lisbon. She holds a degree in Painting from FBAUL in 2013 and a master's degree in Contemporary Art Practices from FBAUP in 2017. Since 2023, she has been the chief curator at PADA Studios and is part of the organization of Hors Lits Lisboa. Her work focuses on materials and forgotten and found objects, with which she interacts through actions that demonstrate a peculiar care.

Highlighted in her recent trajectory are the following solo exhibitions: "At night I write at night during the day: Duplex AIR" (2022); "To the seagulls, to the dogs and to the nearby animals," at Rua das Gaivotas 6 (2020); "Approaching the flaw of untranslatable objects," at Maus Hábitos/Saco Azul (2017).