I discovered the work of artist William Kentridge during the first months in college (I did Visual Arts at Belas Artes in São Paulo), and in those days I wanted to develop video projects and urban installations and this was how I got charmed and was surprised with the talent and works by this artist.
Born in Johannesburg, South Africa, he studied and lives there to this day. His work is largely inspired by his life experience during the apartheid and his reflexions on colonialism and exile.
Along with the social-political subject, we can see in his work a fascination by Modernism and Expressionism, by matters of time, space and universe, as well as nature’s creativity.
I’ve had the opportunity to see a few of Kentridge’s exhibits in different countries and with each visit my enchantment and admiration grew.
Some of his work in the current exhibit in London (at the Whitechapel Gallery) are familiar to me, but each time, each new assembly at a different place, I notice details I haven’t seen before.
“The Refusal of Time” (2012) is one of my favourites. An installation with 5 video projections of 30 minutes each, assembled in a room with megaphones and a machine that represents human breathing. This work is a collaboration with Philip Miller (responsible for sound), Catherine Meyburgh, Dada Masilo and Peter Galison. This installation deals with the subject of time, its measure and control.
“Right into her arms” (2016), an installation of a miniature model theatre with images and cartoons projected, the video projection is 11 minutes long.