Shortly before his death, Derek Jarman wrote a beautiful treatise in which he pointed out that “colour, the further it sinks into time and space, the brighter it shines”. We know that black represents the absence of light and that in darkness we cannot see what things look like; however, in Catarina Mil-Homens’ abstract compositions, forms emerge from the shadows to become visible.
The gradation of the blacks in at least two levels of opacity favours a more intense perception that makes it possible to insinuate volumes that emerge from a first layer replicating their geometric outline on the neutral background.
Obstinately mute, these latent figures question us about the transit between the visible and the invisible, as the material becomes present layer after layer, following a slow and careful process that involves the artist’s body until an impeccable finish is achieved. The result is a dense accumulation, of a matte, velvety black that could well function as an attractor of light, while suggesting a depth as ungraspable as it is magnetic, placing us on the edge of an abyss whose blackness implies occlusion, but also an incarnate, resonant presence that looks at us from the void.
Top image: CATARINA MIL-HOMENS, Tilt, 2019. Media acrylic glass and charcoal on paper, 20 x 85 cm (x 5) ENQUIRY