SYNOPSIS (english)
«In the act of copying there are two different and divergent things. One comes from the
specialization; the other of the involuntary invention»
«Shadows will be more eloquent than illuminated objects, so they will transform into
shadow shadows and lose their outline»
Raúl Ruiz, Poética del Cine.
The minimum questions or work documentation: Anelys declares that she uses visual
retention as her tool of work with memory, with her insistence. She consciously enjoys the
process that gives the selective construction of a here and now memory, looking
simultaneously at the past seeking to rebuild it or ultimately inventing it before it inevitably
disappears, as in the Alzheimer’s that her mother suffers.
She works with memories she wants to treasure, not always of her history, but that identify
her by building her nearest environment. This reconstruction of the mythical memory allows
her to hold to a nature that are weakened memories by the fear of forgetfulness and the
insistence of remembrance; that’s why she resorts to family photographs and cinema
scenes: minor stories of human relations without great central conflicts (such as Ruiz
cinema) but focused on the expression of moods and tensions, aware that they will be
forgotten by her and the others.
Painting today using Raúl Ruiz’s cinema as a reference, constitutes an appropriation or
simultaneous look from her role of artist and inhabitant of Chiloé, representing a
crossbreeding – like the one of the filmmaker – allowing her to perform a detailed reading and
operate simultaneously as a performer and composer from a certain form of the southern
being, which also has aspects of universality and syncretism connecting the myth with the
absurdity, facts and fiction, the remembrances or her misplaced as new elements of her
painting/memory.
In this fragmented synopsis of Ruiz universe, Wolf’s expressive stroke becomes minimal,
because the image as a document takes over the transfer of celluloid to VHS and later, when
digitized, the loss of information is further evident mutating into spectral gesture and the
pictorial image becomes an autonomous work of the reference.
RAÚL MIRANDA
Chiloé, September, 2019