THINGS WE SUSPECTED (from each other) 

Yvonne De Grazia

THINGS WE SUSPECTED (from each other) 

invokes the feeling we might experience for a particular situation where ‘the other’ is involved and from which we can draw confidence. It also enhances the conviction to dig into a fellow human being’s motifs. “THINGS WE SUSPECTED (from each other)” may convey the idea we could learn from this knowledge. On closer look this trust might turn in its complete opposite and result in a loss of faith or devotion in the person or situation concerned.

The idea itself and the sense of immediacy that comes with it - at least for the ones involved in it - may be part of an artistic practice. Its results ending up in a blueprint for our actions and thoughts in time present, time past and time future.

Ever since I have been attracted to synthetic sounds and oscillations - to me they convey future and past at the same time, a somehow intermediate value, a vacuum. 

This resentment and my dystopian view on the world are elements of the presented works: a looping video with random collected images and sceneries, glitched obsolete images. 

Conventional presentations of a large number of artistic practices is a recessed and somehow pre-formatted business (nowadays) - connecting to a larger audience in atypical locations and situations means also that the rational part becomes less significant and creates an increasing sustainable projects.

Will there be a shift in perception in our daily routine when we - spectators, sound creator and artists - will be returning home and spend time with our loved ones. Something suspicious might be happening at the hitherto familiar screen where Netflix can be seen. We might notice a deviation in the gaze of the other. We live in a forever changing and hybrid world: things we suspected and convictions we hang on to can turn into mistrust with a snap of a finger.

Yvonne De Grazia, born in Saarbrücken, Germany - lives and works in Brussels, Belgium 

The underlying basis of my artistic work is a mix of a slow and ripping creation process, an analysis of all its facets with an emotional and highly sensitive and immersive attitude. 

The status of the image and data are essential in my practice, whether they convey, obsolescence, control, deception, mutations … I collect and convert them by rendering them into other visual propositions.

Recent works include printmaking, textile design, manual drawing, video – the research conveys a visual proposal of a collective past and individual memory.  Selected elements are rearranged differently and manipulated until deployed for new materials.This process emphazises typical female craftwork: low-ranked, repetitive and – and as a sort of silent protest. Subjectivity fights back facts and undermines a delivered vision of the world - strictly individual feelings and intuition is rendered in a visual system throughout sensitive and meaningful transformation.