JULIETA FERESIN

an invitation, a call

Capturing time before time

The astonishing world of Julieta Feresin contains neither guilt, nor time, nor betrayal. Color itself is hardly there. We are behind, below, on the threshold of meaning. Where characters demand union there reads a motif outlined over paper clouds. Primordial union, an oceanic feeling embodied and discharged in a manifestation as primitive and as much a fruit of reason as a raft.
The works of Julieta do not provoke, her vessel is not Marcel Duchamp scandalous “Fountain”. Like Dada, her works strive to leave the cave, but now it is because we are in the cave of Lascaux. Now we need the alchemy between animality and fire, between intuition and spirituality, the transformation of images into objects. Hence the design of the vessel requires not a polished ideal of beauty, but rather the rough texture of the cave. We are invited to locate Julieta Feresin's in the moment before time was broken up into units. We have entered the cave of Lascaux, where Julieta inscribes the walls with her visions, desires, and dreams, where she gathers together an indefinite treasure of scattered meanings: marks and memories that bring us closer to the real possibilities inherent in being conscious of the expressions of the world.

Who would not surrender to the hand that creates, to the whirlpool that assembles the beautiful forms of chaos and the emotions? Julieta Feresin appropriates and internalizes the raw material of Argentine reality. Geographical circumstances become a natural part of the composition process, an inheritance that, for her, reclaims that primordial union, that return to a non-existent origin, that moment before time began. It is as if Julieta was encouraging us to seek out the raw material of art not in Cartesian duality and individualism, but instead in that place where everything is cooked with the same fire. Her works await the birth of a consciousness that they will tear apart. She cracks open the self until it is subsumed in its own wound and reveals the true nature of its depth, of its belonging to the whole. If, as Merleau-Ponty writes, the world "is already here” when we inhabit it, we must be able to rediscover those naive points of contact that reveal our own innocence. Julieta Feresin's stylem points to the moment before the perception of a fourth dimension, when time was merely an intuition. In a world where art no longer decorates, no longer represents, nor evokes that remote past that is past in time and space, which is where and when, Julieta "reacts" to prove that it is possible to capture on paper the fixed reflections of our prehistory.

Text : Federico Barea

(translated by Casey Gough)