Claudia Bakker

"Some things, like some works, seem to only reach their utmost spiritual and aesthetic aim through distinct moments, as if they carried a continuous magnet, to be deciphered. For this reason the two works at Açude Musem, “The garden of Eden and Gorgon’s blood”, 1994/95, and “The Milkway”, 1996, still resonate for Claudia Bakker, still keep a duration that is non-Platonic, and that are resumed in these registers shown as artist’s documents, revealing to us an intimate character, a backstage feeling. In order to document this nothing better than the exercise and the help of photography, since, as we know, it rewrites the very image already lived, in that memory that is life of that which has been lost. In this way, the registering of a work already done turns into another work able to receive new readings, new regards that are interventions, that is, that receives a descendence: like these pages of the 1995 object-book – with the apple as a symbolic element – that are inscribed in the matrix, as a declaration of return to an origin.This is the case of the multiplication of images in this exhibition – in a diptych or a triptych – with is related to memory and its projections. The work developed by Claudia Bakker is touched by this incessant, delicate and vigorous attraction, by the meditation of the organic. In the fountains and apples, liquid and solid are especially emblematic. Since the dawn of the world apple contains spell, and, since Heraclitus, flowing water produces a mirage in time. In this spoken attraction toward time from the Potencies of the Organic, Claudia Bakker is able to find a revelation: time itself as something organic. The title “Phototexts” alludes to photographs as readings. Where the word serves as the threading line of images, at the same time meaning and construction. Like the visual letter, the last in the room – in a black and white photo – full of temporal reflexes, manuscripts, which is a whole poetics."
Adolfo Montejo Navas, 1998
© claudia bakker