Marcela Cabutti

I was about six years old and was sitting on the curb of my house (...) after the rain, with my feet in the muddy water that flowed through the basin. Suddenly a piece of white paper, torn or cut, contrasting with the dark water, caught my attention. I dazzled the beauty of contrast and form (...) I lost consciousness of my body and floated beyond the space and time, in an ecstasy of contemplation and joy (...) after almost a lifetime, I must admit that what I'm unconsciously looking for when drawing (...) is a repetition of that experience -Says Padeletti-.
Cabutti in one of our meetings refers to the poet's experience with the drawing quoting the previous text. Reflexive, she tells me about her own encounter with this technique, while tracing the lines on the pieces that she gives life to live to. The artist seems to have found an instance of meditation on the act involved in the drawing, the awareness of the line. This association leads me to the flagship dispute that set up so passionately the relationship between painting (drawing), poetry, sculpture and music, The Paragon, an uproar among the arts. The proposal of the exhibition is in line with this analogy: sculpture, paintings, drawings, literary quotes ... but this time not involved in a theoretical discussion, but joint in the search for a thrilling aesthetic experience.
As for the exploration of the artist in this project, I return to a few words of the story of Padeletti: rain - with feet in the muddy water - a piece of paper - Fleet - ecstasy of contemplation- . The perception of natural phenomena, for both of them and at different times in their lives, decanted in the survey of new meanings related to beauty and its contemplation departing from the heterogeneous construction of its pieces.
The view of nature and its phenomena has projected the need for ownership and investment of excess and overflow movements, configuring an achromatic, icy landscape, distinct from its core generator. Cabutti, in contrast with the swirling and excited mannerism, ( trend that founded the representation of the landscape with broad scope for the imagination) designs the Japanese poetic with a nod, a territory without traces or marks of the storm. She sets up an area associated to the beauty and to the abstraction of the ideal, but in this case is inevitably tied to the feeling of desolation.
The installation and the intensity of the unrefined forms of the pieces, the absence of color, noise and interferences, allows testing of all our senses, analytical consciousness is moved into the next room, there where iridescence rules. Both spaces are occupied under different strategies to restore some harmony, seek relief, protection and awareness of turbulent nature.
The relationship between nature and art has been thought a thousand times, the landscape genre. I remember the consequences of good governance... fourteenth century, The Virgin of the Rocks by Leonardo under that climate of evolving silence, the rupture of the Impressionists, the rebellion against the genre of the historical vanguards, the land art ... The perception of nature changes according to the movements in the history of our mentalities: discovery of territories, advances in science, the generation and breakdown of myths and new realities. Although nature is not the same as landscape. Cabutti, precisely, stops on it to talk about the perception of the state of things in this habitat that winces and grabs our serenity unseasonably.
A dog is watching, a sinking ship. Everything is suspended. I remember then The State of Things by Wenders: A team is filming The Survivors and gets stranded in Portugal, the director seeks a solution to the problem and so the movie takes place ... meanwhile Marcela Cabutti exclaims a silence at an environment where everything floats and fortunately an area where the game is resumed: look how many ships still sail ...
Lara Marmor, September 2008