Briefly describe the work you do.
I work mostly with photography and drawings. Nature has a big influence on my creations, being the subject photographed or the inspiration for my drawings.
The drawings although are all abstract, one can always identify and project various shapes and forms. These drawings first started as studies of the growth rings of a tree, and Dendrochronology – the science that dates the age of a tree based on this rings. I see these drawings as very long-term project, as my life project, and they have been developing, not only conceptually but in technique as well. Overall, I see them as dedication drawings, where time and patience are essential.
On the photographic work I’ve been playing with interventions on the landscape. Either on site, where I bring props, Indian ink or tapes, or on the techniques and digital interventions I use exploring how to deconstruct the concept and the visual projection we have of a landscape. I a few long-term projects I’ve been working right now, and although they differ visually, they all come together on the sense that I see my acts as gesture of dedication and questioning the relationship of men and nature.
Tell us about your background and how that has had an influence on your work and on you as an artist.
I come from a family of artists so that has always been a big influence on my life in general. I grew up going to exhibitions, museums and openings and being enchanted by this eccentric world. When the time came to choose a University I applied for Arts and Environmental Management. I ended up doing Fine Arts, but like I said, nature has a big weigh on my work.
The concept of the artist studio has a broad range of meanings in contemporary practice. Artists may spend much of their time in the actual studio, or they may spend very little time in it. Tell us about your individual studio practice and how it differs from or is the same as traditional notions of “being in the studio.”
I am currently on Art Residency where I have a private studio, but back in Brooklyn, where I live, I don’t have an actual studio, but I have a space on my house where I can use a wall and a big table. I believe that even if you don’t have an actual ‘Artist Studio’, you can always adapt and work with the space you have. It will definitely influence on the kind of work you are doing, if you don’t have much space you’ll find a way to produce and experiment on smaller works, digital work, photography, going outdoor… And in the same way, if you do have a large studio you are probably going to expand the production size wise and maybe clatter more things – usually happens to me when I have a studio, but either way it is possible, in my opinion. If you want to make art, you’ll find a way.
What roles do you find yourself playing that you may not have envisioned yourself in when you first started making art?
I find it very difficult for me to sell my work and to do all the business and marketing part of it. But of course we can’t run away from it. And I definitely did not see myself using technology like I do now. I used to, and still have a complicated relationship with computers.
When do you find is the best time to make art? Do you set aside a specific time everyday or do you have to work whenever time allows?
It depends. During some periods I can set aside a production time to work on my things, but sometimes life just gets crazy and I have to work whenever possible. Because I like to photograph the outdoors and natural landscapes, I usually work more on that when traveling, and then work on the post-production, editing, printing and writing from home. The drawing part is somehow easier because I can do it wherever has a wall or a big table, but I see that if my mind is too tired, it gets really hard to concentrate and draw for many hours.
How has your work changed in the past five years? How is it the same?
I believe that my work has been gaining more strength and I also understand it better, where it is going and what I need to explore more. I think that the technique and the mastery of the material have also developed. But the same essence, of a long dedication and meditation on one work has definitely lasted.
How have people such as family, friends, writers, philosophers, other artists or even pop icons had an impact on the work you do?
Living in New York you have the chance to be always surprised with all the possibilities, and all the references you perceive daily. I find that incredible and it is probably a great influence on my work and perceptions in a whole. I love being up-to-date on galleries, museums and independent art spaces to see what is happening around me.
Have you ever been pulled in the direction of a pursuit other than being an artist? What are your other interests?
I have been working with renowned artists as assistant and studio manager. I love the experience and all the knowledge you can get from working with people with more experience.
I also have a huge interest in botanical and landscape design, so I think I’d work with that. I actually don’t discard that possibility in the future.
Received her Bacharel in Fine Arts in 2008 from FAAP – Fundação Armando Alvares Penteado. At the same school, received a Master in History of Art.
Talita has been working mostly with drawings and photography. Has participated in several group shows and art fairs, having a solo show in 2011, in São Paulo.
In 2012 the artist moved to New York and in 2013 was accepted at the International Center for Photography to attend the one-year course in General Studies, focused in Fine Art photography, completed in June of 2014.
The artist is based in Brooklyn, working with the multi artist Janaina Tschape and keeping her personal research inspired mainly by nature and landscapes, silent and echo, stillness and reactions, micro and macro, but not restricted to it.
All images copyright of the artist and used with their permission.