• Installation view: Formes Absents, ProjecteSD | Formes Absents | ProjecteSD

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  • Nutshell, 2015 | Formes Absents | ProjecteSD

    Nutshell, 2015

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  • Nutshell, 2015. (Detail) | Formes Absents | ProjecteSD

    Nutshell, 2015. (Detail)

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  • Maqueta #4 (Rings), 2015 | Formes Absents | ProjecteSD

    Maqueta #4 (Rings), 2015

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  • Hole, 2015 | Formes Absents | ProjecteSD

    Hole, 2015

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  • Shadow (Nutshell), 2015 | Formes Absents | ProjecteSD

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  • Shrine, 2015 | Formes Absents | ProjecteSD

    Shrine, 2015

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  • Untitled, 2015 | Formes Absents | ProjecteSD

    Untitled, 2015

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  • Print (wood) #2, 2015 | Formes Absents | ProjecteSD

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  • Still life, 2015 | Formes Absents | ProjecteSD

    Still life, 2015

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  • Still life, 2015. (Detail) | Formes Absents | ProjecteSD

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  • Waterfront, 2015 | Formes Absents | ProjecteSD

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  • Migration, 2013 | Formes Absents | ProjecteSD

    Migration, 2013

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  • River’s edge, 2015 | Formes Absents | ProjecteSD

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  • River’s edge, 2015. (Detail) | Formes Absents | ProjecteSD

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Patricia Dauder

Formes Absents

Opening: 20.11.2015, 19.00 H.
Exhibition: 21.11.2015 - 16.01.2016

Presences and morphologies delineate a territory noted for action. Something that might happen or traces of what once existed stand as an absent architecture in the space of ProjecteSD where Patricia Dauder designates a dual landscape, fictionalizes reality and at the same time constructs from natural forms, a symbolic environment loaded of references to myths.

Her work, essentially abstract and procedural, presents records, tears, discolorations, marks and layers that compose, accumulate and constitute a new body. Ephemeral or organic elements work as a travel log or record of an action in which the artist demonstrates the passage of time through the material exposed to a biological and at times, chemical process.

Dauder represents in these new works, the reality that surrounds us, and yet impossible for us to perceive. Through her sculptures, drawings and objects she manages to capture the sequential with a taxonomic look. In these, she questions the empiricism of the first naturalists and collects essentially constitutive marks of the fieldwork methodology to oppose concepts such as empty and full, recto and verso, form and content, negative and positive.