“(...)
making our gazes multiply, invert, reflect and refract in an optical setting that could destabilise power relations linked to certain ways of seeing”.
Christine Caviquiolo is a multidisciplinary creative based in Eindhoven. Business owner, product designer and PhD in Technology & Society from the Technological University of Paraná, Brazil. Her artistic and research interests are related to the mutual shaping of society and technology, focusing on everyday materialities and visualities. Through her photographs, videos and photo collages she wants to highlight the things that are considered unimportant but can constitute, constrain and colonise our daily lives. She loves lichens and misses the smell of her homeland's rainforests.
Christine Caviquiolo makes images - through framing, cutting and composing - to understand processes and ways of seeing. Inspired by the artworks of Francesca Woodman, Martha Rosler and Maya Deren, Caviquiolo uses the technical devices - cameras, lenses, scissors and softwares - as imaginative tools for opening fractures and passageways to infra-realities, suggesting alternative ways to exist in a world that was not designed for everyone.
(no)escape
2022
Medium: inkjet print on photographic paper
Dimensions: 27,7 x 21 cm
The work (no)escape (2022) is a composition of three photographs with a dreamlike atmosphere, as if someone was looking for an escape to an outside/alternative world but cannot find it. The only thing you can get is an image, a projection, a mediated reality.
The photograph printed on a translucent fabric, Untitled (2021-2023), is an attempt to imagine other possibilities of being (a woman) in a public space.
Hand me down (2023) is a photomontage with a discussion of the processes of making and consuming images, paying attention to the subtle and violent messages and presumptions about women’s roles in society. By selecting similar images and putting them together it is possible to identify particular ways of seeing.
The work “With whose blood were my eyes crafted?” (2023) quotes a passage from Donna Haraway’s article “Situated Knowledges: The Science Question in Feminism and the Privilege of Partial Perspective” published on Feminist Studies journal in 1988. This artwork dialogues with the article's idea that visualising practices - which always involve questions of power - can also be implicit violence. The artist seeks to expand this provocation by making our gazes multiply, invert, reflect and refract in an optical setting that could destabilise power relations linked to certain ways of seeing.
