Rofa projects, Potomac
RoFa projects, is a contemporary art platform with an emphasis on the research of Latin American artists. Promoting art based in the artistic discourse associated with the different visions of the sociopolitical processes with which we live worldwide.
RoFa projects will present artists sharing content based upon the analysis of the interaction of the individuals, their inward perception and the relation with the media.
Aldo Chaparro (Perú, 1965) focuses in the use of sculpture and painting to explore form in post industrial time. Chaparro explores form through void, matter and the human body, transforming prefabricated materials into unique objects. With elements commonly used for construction, he creates forms in balance by manipulating and subtracting matter.
Chaparro’s sculptures made with bent steel are the result of his ongoing relationship with the material. The steel sheets used by Chaparro are characteristic of the industrial era. Their slimness, neatness and their reflective quality can only be achieved through machines, and because of that, the sculptures’ violent nature creates great contrast with the nature of the sheets, as Chaparro kicks, bends, and jumps on them using nothing but his body and his own weight.
Inspired by the Memphis Group’s arbitrariness, which bored by austerity and the idea of “form doesn’t follow function”, in Re-Thinking Carl Andre’s TRABUM, a variation of Andre's TRABUM has been modularly sliced to transform void into a prosthesis. Solidity is no longer the only parameter in the form. Complete stability has been dismissed; hence, the prosthetic emptiness summons a floating equilibrium. Returning to the sculptural idea in which form remains trapped inside a block of marble or a piece of wood, Chaparro extracts new shapes from one of Andre's most iconic pieces. As a result, by incorporating void, less is always less.
Gladys Nistor (Argentina, 1960). Through her geometric work she finds ways to create emotions with a line or a point, either on a sheet of paper, or in an architectural space. For her, art is limited to pointing to a bottomless territory, and in that sense, an "organization of the vacuum.”
“I'm not a geometric artist. The question for me is how to create emotions with a line, a point, a plane. Either on a sheet of paper, or in an architectural space. What matters most about the work is the silent part, the sensations that take place around it, everything that is not discursive, that of the order of the ineffable.”