Federico Telerman
I was born in 1988, in Buenos Aires, Argentina. I grew up between Paris, Washington and Havana. My childhood was marked by travel and moving. Many times I was forced to replace the nostalgia of what was left behind with the impetus to enter the unknown. Being a foreigner was part of my life, and it probably will be forever. The change constant made me who I am, made me see things how I see them.
Nothing, no matter how it seems, is still. Every little moment we live is motion. Movement from one state to another, from one emotion to another, movement of reality, of body, of skin, of loves, of life to death. We are constantly changing. Even memories move. We forget things, we add others, we complete stories, we idealize the irrelevant and forget the important. Whenever I try represent a memory, at the moment of catching it there is something that escapes, and in that gap the painting appears. In that “void” that exists between leaving one thing to go to another. In that instance of vulnerability and few certainties. I find great satisfaction in accepting what changing, the impossible to grasp. I reject the static. Everything is movement, and about that I paint.
What a contradiction to “paint the movement”! It sounds impossible. It seems that the painters grab things and freeze them. We stop them in time. It sounds like a impossible… and maybe it is. But what interests me is precisely that fight, the quixotic search for the impossible. The further away the goal, the more I feel forced to put the body. I work with my hands, I don’t use brushes. And that’s what my paint. About the gesture, physical, visceral and emotional.
I previously believed that disciplines such as dance or acting, because they are performative and use the body, were the true embodiment of the movement. But not only the painting moves, but perhaps it is the most dynamic discipline. I often think about the relationship between painting and nature. Is it the observation of the outside world that inspires me or is it the painting a mirror of the world and its phenomena? Is the act of painting a representation, a homage to natural forces or is the act of painting the force itself? Representation or incarnation? I try to place myself in the second group. I consider that my Work is not the representation but the embodiment of movement. That’s why I choose the abstraction as language. It is a language that allows me, more than representing fire, to be the fire More than representing a waterfall, being that water that falls. I feel comfortable speaking the abstract language because that is how I manage to explore that which escapes, cross the limit that words and things have. The limit of memories. Is in the abstract where I manage to see myself face to face with the movement. It is a dynamic exercise itself, operates in the same way as the water of a river, the fire of a fire, the wind in a pasture. Movement is what makes me feel alive.
Federico Telerman
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Federico Telerman (Buenos Aires, 1988)
Education
Solo exhibitions Duermevela , Praxis, Buenos Aires, Argentina
