THE ART OF DISAPPEARANCE

"Characterised by the use of unconventional materials, her evocative, and in some ways even provocative, work reveals her longstanding interest in the natural world and the ambiguity of our relationship to it.

Some of the works in this exhibition used the preserved bodies of frogs and lizards and dead butterflies, which were farmed for scientific and educational purposes. Cardoso incorporated dried sea creatures produced by the tourist industry and from Chinese medicine. These raw materials, with their potent symbolism, recalled patterns that exist in the natural world as well as minimalist sculpture, where simple elements are repeated to create more complex forms. Sculptural in form, many of the works were more akin to drawing in space.

These works also contained references to mythical symbols in pre-Columbian culture. The latent violence and references to death in some of the work also had a particular poignancy in a Latin American and particularly Colombian context, where violence and death were very much a part of everyday life. However, in the more recent work, there was a strong humorous element, particularly in the video works produced in collaboration with her partner, artist Ross Rudesch Harley, where the antics of the animals projected their ‘personalities’.

In her later works, Cardoso turned her attention to a quintessentially Australian animal, the sheep, because of the economic and cultural significance of wool and the role it has played in the development of the agricultural landscape of her new home.
Cardoso’s work has been described as a contemporary reinterpretation of the tradition of still life painting. She draws on references from art history, popular culture and scientific theories of biodiversity to create a complex and intriguing body of work which raises serious issues but refrains from making judgements”.

Macgregor, Elizabeth Ann. Zoomorphia: Maria Fernanda. Sydney: Museum of Contemporary Art Australia (MCA). Available on: https://www.mca.com.au/artists-works/exhibitions/257-maria-fernanda-cardoso/

By Maria Fernanda Cardoso

I have been working with other life forms since 1990. Questioning the ethics of this practice is good, as it gives me the opportunity to share my thoughts and feelings about why I do what I do, and how I do it. Let me assure you that all the insects I have used in my artwork had been ethically sourced and handled, they have been bred by me and others and were not collected from the wild. During the filming and photographic shoots, there was also no harm in the handling of such insects, as I am an expert in insect wrangling. The photographic lights used were cold lights so there was no stress to the insects. I have decades of experience as insect wrangler.

Animal representations in art is one the oldest and most recurrent form (i.e. cave paintings). We have evolved alongside many other species, and they are represented in all other forms of artistic expression. Yet, in our modern era, we are more and more distanced from the direct experience of encountering and experiencing other species. My art wants to bring other species back into our perception, and that's why they are found surprising when seen in the context of artworks.

I am particularly drawn to insects, as I find them incredibly complex regardless of their small size. I think they deserve attention and appreciation. I want to share my fascination and the insights I gain by working with them. My work has also been informed by the tradition of natural history, where we exhibit animal collections to help advance our scientific knowledge of the natural sciences. I acknowledge the paradoxical aspect of this relationship to the natural world. My practice also aims to create a marriage of Art and Science. It shows scientific facts using artistic language, symbolism, and an art context to present them to a wider audience. All of that without having to go hunting and killing wildlife.

English