“In this work I’m looking at continuous cycles of expansion and rest that seem to be found in everything that changes through time. A tree doesn’t grow in a linear way, at a steady and unchanging rate, but in bursts of growth in the spring and summer followed by an austere fall and winter. The cycles inscribe themselves in the concentric rings that emanate from the core of the tree. This image was not in my mind when I made this work, but seems connected because they both connect to that essential cycle.
The human body has no rings to count, but our experience of these vicissitudes is certain, and the quality of our life depends greatly on our attitude toward this flux. I can count only these basic circumstances in which a person will be afraid: While enjoying either action or rest, they fear that it will end and be replaced by the other. Or, finding the action or rest unpleasant, they fear that it will persist, that the other will not come. When the idea of infinity is added, these fears can become terrifying. Yet adding the idea of infinity with understanding of the cycle, one is reassured that night will always pass, and that the sun will always return again. It is in fact the nature of the infinite that allows us to say ‘this will not be forever.
These sculptures take this dynamic as both the essential human drama, and as our essential refuge from it. In the same way that a work of architecture shelters and becomes alive with the activity that fills it, these sculptures are perceptual environments that hold a continuous transformation of light and space. Reflections in mirrors create a world that extends into the immaterial. Subtler reflections in glass create infinities within infinities. To point at the endless, the works use abrupt truncation.
While the viewer’s body does not enter these objects, their mind does, and like a Greek temple or a Gothic cathedral, the space within is organized to establish a conducive environment for the experience of truth. Skillful precision clears away the noise and guides us toward smoother vicissitudes, so that we can hear the truth of the total system. Sometimes expanding, sometimes resting, always already in harmony.”
– From Brookhart Jonquil’s Artist Statement, March 2018, Courtesy of Emerson Dorsch
Maria Theresa Barbist and Elysa D. Batista are both locally based South Florida artists that collaborate as the BABA COLLECTIVE. They originally met at the Bakehouse Art Complex in Wynwood, FL during their individual artist residencies in 2016.
The idea of the BABA COLLECTIVE was born when in discussion of the diversity of artists that were found at the BAC, and other institutions in Miami, they realized the lack of archives providing the ability to access interviews of these individuals. Thus RCS: ROCKING CHAIRS SESSIONS was created. A publicly accessible forum where one could find individual recordings describing the professions, media, and life of South Florida based creatives.
Launching their collaborative endeavor in 2017, the BABA COLLECTIVE seeks to amass a window into the lives and process of SoFla based professionals in the arts.