Vivian Suter: Tintin’s Sofa

You might think Vivian didn’t simply have a studio in her flat in Guatemala and tossed her artworks out in her patio, but the real explanation seems to be generally indistinguishable for the innocent guest. These big canvases are scattered all around the room number 3 at Camden Arts Centre in what has been described as “an immersive cacophony which mirrors the canopy of the rainforest”. I am trying to figure out; might it be for the brilliant colors that are a sort of hint to the collective memory of how Central America should be? I travel to the past, it’s in the back of my head, in what I keep as a memory of the north of Brazil (never been to Guatemala) and after few minutes I am kind of breathing the seasonal rains, identifying that fresh smell that the after storms carry with them. I realize that’s because the paintings encapsulate nature’s ethos, epitomizing what artwork would kind of look like after being soaked in water, mud and some other ingredients that are environmental attributes. There’s a sense of tranquility that welcomes you, the meaning is peaceful; the paintings are hung up in a sort of mess that ends up being neutral and harmonious.

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