Claudia Bakker

Either in interventions in space, photos, films, videos, texts or, as the critic Luis Camillo Osório stated in 1998, in "phototexts", Claudia Bakker's work is harnessed to the paradox between time's speed and the retention of reality. As Cézanne, Bakker is in the haste because she sees, or foresees, that everything is, slowly or quickly, disappearing.

Paula Alzugaray, 2014

Her drawings don't imprison the line of drawing but takes out the form from the composition when adding chance to, finally, construct a hybrid between drawing and painting. The "hot" colours emit a light and a vibration that confuse itself in space. The artist's fascination with colour shows that she isn't interested in the pictorial representation, but in the "peel of the drawing " , or in the spirituality that flows from these images that evoke the physical effort of her reality."

Paulo Reis, Lisboa, 2008

Claudia Bakker does not posit the construction of spaces, but rather the exploitation of a diverse time-lapses whose provisional synchronisation, in the sense of material production, lasts only as long as the exhibition itself. In this way, she transforms the gallery into a kind of space-lapse that intercepts heterogenous concrete and symbolic times, as evoked by the objects on show. What we find, therefore, is the recurrent theme of a visual intersection: future, via the script from the time that preceded the work; past, in the imaginal-texture memory crysatallized in the video; and, finally, the actual confrontation between the fragile ephemerality of the apples and the relative eternity of the marble spheres. Their temporary coexistence could never be imprisoned in form. But they are perpuated in the conception of the work."

Fernando Cocchiarale, 1998

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