THE LACK OF HOME
Edilaine Cunha has been investigating a series of discomforts implicit in home interior designs. Her research produces an elliptical construction that hinders the viewer’s clear view of the situation. Interestingly, in her work the artist consistently turns negative to positive. This aspect can be verified in the lack of rooftop or apex after which she named the work, thus bringing its presence to mind. In Sink, the repeated contact with the user’s body wore down the marble top – an unavoidable recollection that she brings back under a new modulation. While emphasizing the recollection of an absent body rather than painting it out in negative manner, Edilaine Cunha forces us to reconstruct excluded references.What is the borderline between private quarters and social area?
The artist fosters the doubt about the sense of void in her works: a will of solitude and a criticism of the claustrophobic confinement of contemporary habitats. At the same time, however, she states that, in the House, comfort is virtual. The optical illusion she attained in Magic Eye perverts the notions of the inside and outside of a House, so that the alien becomes a voyeur of inside. In another work, the wires and pipes feeding the underground power of the dwelling flow out like arteries that double as perspective lines. Not by mere chance Cunha titled this work Bloodless, i. e., lacking the vital power of blood. The artist’s works were produced through an appropriation of photos the initial function of which was to permit the identification of “architectural errors” likely to present a hazard to building maintenance. Scanned and manipulated in the computer, these images now printed on vinyl still display a will o horizon in painting. Edilaine Cunha’s electronic brush ironically exposes the cold density of geometric lines found in the chaotic dispersion of technology.
Lisette Lagnado