1998 The Transfinite Realms of the Apple – Norval Baitello Junior

1998 The Transfinite Realms of the Apple – Norval Baitello Junior

Solo exhibit – Far beyond de apple

Nara Roesler Gallery – São Paulo/SP

The Other Side of Forbidden Fruit

Once Maria Villares drew an apple.  While drawing, she found in the fruit’s insides the anatomy of the great myth, the principal and foundational myth of Western culture that was not featured, however, in its superficial version of forbidden fruit the Garden of Eden.  In the apple’s insides she devised homologies between world and womb or, in other words, between heaven and ecstasy.  And, just like to every myth there is an origin, to every fruit there is a fetus, a photo, a fact – all of them yet to be discovered and revealed.  A fetus, a photo, and a fact always indicate the uncovering of a secret, the unfolding, unwinding, unconstrained development of a possibility, the unfettered blossoming of a new form.  They always suggest a pending narrative. Like the anatomy of the apple by Maria Villares, they are narratives pointing to open possibilities.

So the apple turns into theme, motive, and character that unfold into infinite variations and bring forth infinite facets.  Like in the Aleph by Jorge Luis Borges, infinite space is not exterior, but interior.  Like in the math of transfinite numbers, the apple holds a world in its core, in its most intimate and fathomless soul.  Essentially these symbols, as for example the “apple” symbol, are destined as parts that contemplate the whole, points that contain the universe, infinitesimal elements that hold the infinite.  (Likewise, seed and intrauterine realm are predestined to contain the new, embryonic being).  To understand this mythical math of infinity within the finite,  Maria Villares has been experimenting with apple that she cuts, slices, dries, and leaves to organic decomposition  or conserves in formalin. She observes the wrinkling of the apple peel, photographs the changing aspects of the fruit, examines its decompositional juices and, principally, registers unconventional data obtained from the apple and its renditions.  These records yield numerous series in which the artist uses assorted supports, materials, and techniques: sketches and studies on paper, apple slice on acetate, monotypes, drawings on tracing paper, boxes, and transparencies.  Everything leads to a new facet of the apple, transfinitely.

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