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Parallax

Parallax


2019 – 2021

Parallax


2019 – 2021

Knowledge takes the form of a moving spiral. Described by Ortega y Gasset the growth of knowledge is the process of digging away at the inwardness of things in the attempt to fulfill the ultimate, hopeless task of bringing it to light. We observe the cosmos and, trying to understand ourselves in its infinite depth, it looks back at us. Brushing its contours, we look for meaning in the dark. Balancing sense and reason, insight comes to us like lightning, in a moment of simultaneous illumination and blindness.

In optics and astronomy, a parallax effect describes an angular deviation of the apparent position of an object, which depends on the location of the observer. In this body of work, the cameraless images begin in the darkroom as photograms, allowing for the contours of objects to be recorded through light on the surface of photosensitive paper. Through additional exposures and solarization, an imagined composition is translated into a layered construction, introducing elements of chance into the image-making process. The scale of the resulting image is amplified, further exaggerating the distance between the object and its representation, simultaneously pushing and pulling our own sense of perception.

We come back to the beginning of the spiral, to the point where knowledge and creation are reflections intertwined. Inwardness as such allows us to confront the impossible depth of objects. It executes itself and arrives as an intimate reflection—an image looking back at us, touching us, facing us with immensity.
 
 
 
 

Fabiola Menchelli, Ocular, 2019 - 2021.
Fabiola Menchelli, Ocular, 2019 – 2021.
Fabiola Menchelli, Acitti, 2019 - 2021.
Fabiola Menchelli, Acitti, 2019 – 2021.
Fabiola Menchelli, Eros, 2019 - 2021.
Fabiola Menchelli, Eros, 2019 – 2021.
Fabiola Menchelli, Jiku, 2019 - 2021.
Fabiola Menchelli, Jiku, 2019 – 2021.
Fabiola Menchelli, Black Whole, 2019 - 2021.
Fabiola Menchelli, Black Whole, 2019 – 2021.
Fabiola Menchelli, Motto, 2019 - 2021.
Fabiola Menchelli, Motto, 2019 – 2021.
Fabiola Menchelli, Hai, 2019 - 2021.
Fabiola Menchelli, Hai, 2019 – 2021.
Fabiola Menchelli, Omoi, 2019 - 2021.
Fabiola Menchelli, Omoi, 2019 – 2021.
Fabiola Menchelli, Okami, 2019 - 2021.
Fabiola Menchelli, Okami, 2019 – 2021.
Fabiola Menchelli, Yoru, 2019 - 2021.
Fabiola Menchelli, Yoru, 2019 – 2021.
Fabiola Menchelli, Solar, 2019 - 2021.
Fabiola Menchelli, Solar, 2019 – 2021.
Fabiola Menchelli, Eclipse, 2019 - 2021.
Fabiola Menchelli, Eclipse, 2019 – 2021.

 
 
 

Immensely grateful to everyone that supported me and the creation of this work for the past three years. Thank you to Alex, Laura, and Javier from ProxyCo Gallery. Thank you to FocoLab and to LTI/Lightside for their incredible help in producing this show. Thank you to all the people that helped me in the studio at different points, Emily Kind, M Prull, Paul McAllister, Carla González Vergara, and Darinka Lama. To Priscila Vaneuville, Tere Carter, and my beautiful family, thank you for being there high and low. Special thank you to all the brilliant people that helped me articulate this project, Kevin Sweet, Laura Orozco, Beatriz Díaz, and my students.

This project would not be possible if not for the generous support of the Sistema Nacional de Creadores del Arte from Fondo Nacional para la Cultura y las Artes in México. Thank you.

Horizons

Horizons


2019

Horizons


2019

The series is a body of work created in response and in collaboration with the work of Leslie Moody-Castro and Daniela Libertado for the exhibition A Grain in the Eye of the Mountain at the MARSO Foundation in 2019. The show explored the poetic possibilities of our works and its relation to a series of conversations developes. Among many other things we talked about the container as a symbol that unfolds the materiality of the work.

This series of works was created using the velvet edge of a 35mm photographic film container. The horizon in the images is generated by the velvet edge of the photographic film magazine. In the darkroom, I enlarged the images using color filters in front of the lens to build a space with multiple color exposures.

I’m interested in the poetics of the edge, the horizon, the limit and the container. The work unfolds from the photographic materiality, also generating a landscape and in turn reminds me of the blink of an eye. I like to think these pieces remind us how powerful it is to take a step back and observe ourselves, observing.

Fabiola Menchelli, Horizon IV, 2019, Archival pigment print, 44 x 55 in
Fabiola Menchelli, Horizon III, 2019, Archival pigment print, 44 x 55 in
Fabiola Menchelli, Horizon II, 2019, Archival pigment print, 44 x 55 in
Fabiola Menchelli, Horizon I, 2019, Archival pigment print, 44 x 55 in
Fabiola Menchelli, Shut Eye, 2019, Archival pigment print, five 11x14in prints

Sidereal Tide

Sidereal Tide


2015-2016

Sidereal Tide


2015-2016

This book is the result of a creative process that began in May 2015. The images that constitute it were taken inside the concrete observatory at Casa Wabi on the coast of Oaxaca, where I lived for 28 days as part of their art residency.

The day I arrived, a natural phenomenon, called mar de fondo (deep sea swell), surprised us all and showed us the indomitable power of water: the tide covered the pool, and the floor vibrated with every wave. It was a full moon night, there was something uncanny in the air, someone had fallen off a horse and two lovers broke their bond.

During my stay I walked around the observatory, reviewed and photographed it, fascinated by its composition and structure. Severe, concrete led me to seek a way to mold it through images. The way light bent on its surface, and the way space was cut by its shadow, made me think inevitably on its relationship with the movement of the sea. Connected one after another, the images created a horizon that related, in turn, with the lunar phases. Marking the calendar, I realized the day of my departure would coincide precisely with the full moon.

Upon returning home, I decided to fulfill my aesthetic reflection in a piece that is made up of 13 books, one for every lunar cycle that occurs during one year. Each book is a cycle consisting of 28 pictures, one per day, and each picture measures 24 centimeters, in line with the 24 hours in a day.

The sum of all 364 photographs is a tribute to the power of intuition, femininity, fertility, and the water that composes us, qualities that inescapably relate us to our intimacy with the moon. Honoring, also, the light that is reflected and transmuted into the only face we see of the White Goddess, the strength and the teachings of each of its phases and cycles.

La Curvatura de la Luz, Fabiola Menchelli, Fundacion Casa Wabi, CDMX
La Curvatura de la Luz, Fabiola Menchelli, Fundacion Casa Wabi, CDMX
La Curvatura de la Luz, Fabiola Menchelli, Fundacion Casa Wabi, CDMX
La Curvatura de la Luz, Fabiola Menchelli, Fundacion Casa Wabi, CDMX
La Curvatura de la Luz, Fabiola Menchelli, Fundacion Casa Wabi, CDMX
La Curvatura de la Luz, Fabiola Menchelli, Fundacion Casa Wabi, CDMX
La Curvatura de la Luz, Fabiola Menchelli, Fundacion Casa Wabi, CDMX
La Curvatura de la Luz, Fabiola Menchelli, Fundacion Casa Wabi, CDMX
La Curvatura de la Luz, Fabiola Menchelli, Fundacion Casa Wabi, CDMX

I am immensely grateful to Casa Wabi for the invitation to spend these 28 nights in a space like no other, so beautiful and inspiring. Thank you for giving me the time to be still in order to create movement.

The creative process took about a year to complete and would not have been possible without the support of Casa Wabi. Thank you to Patricia Martin. Thank you to Bosco Sodi and Tadao Ando for creating this wonderful space. Thank you from the bottom of my heart to Cristina Nava and Alberto Rios de la Rosa. Thanks to Judith, Lalo, Lucero, Lalito, Doña Irma, Genaro, Iván, Galia, James, Katia, Huna, Gaby and Yeni, Rebeca and Sean. Thanks to Yautepec for their unconditional support. Thank you to Imagen Virtual, Xavier Gaona, Alana Burns, Ernesto Miranda, Leila Tschopp, Laia Rius, and Teresa Carter for their invaluable advice and amazing work. Thanks to my wonderful family and friends. Finally, thanks to Priscilla Vanneuville: I could not have done it without you.

Light Studies

Light Studies


2016 – 2020

Light Studies


2016 – 2020

Using the camera to transmute reality, Fabiola Menchelli combines diverse perspectives in a single plane, generating a dimension that exists only within the camera. The images from this body of work are constructed inside of the camera exposing the light-sensitive surface multiple times altering the object, shapes, and colors, thus generating different planes of light that are combined in the latent image.

The work reveals the subjectivity of the lens by conceiving the camera as a perceptual apparatus that points inside to create the image. Seeking to question the ontological nature of the photographic medium to elevate the space of representation beyond the paradigms of perception.

Fabiola Menchelli, Untitled, 2013, Archival pigment print on fiber paper, 20” x 24” / 50.8 x 61 cm
Fabiola Menchelli, Pink Lady, 2018, Archival pigment print on fiber paper, 24” x 30″ / 61 x 76.2 cm
Fabiola Menchelli, Archer, 2018, Archival pigment print on fiber paper, 24” x 30″ / 61 x 76.2 cm
Fabiola Menchelli, Ace of Swords, 2018, Archival pigment print on fiber paper, 24” x 30″ / 61 x 76.2 cm
Fabiola Menchelli, Queen, 2018, Archival pigment print on fiber paper, 20” x 24” / 50.8 x 61 cm
Fabiola Menchelli, King, 2018, Archival pigment print on fiber paper, 20” x 24” / 50.8 x 61 cm
Fabiola Menchelli, Amparo, 2018, Archival pigment print on fiber paper, 20” x 24” / 50.8 x 61 cm
Fabiola Menchelli, Light study No. 6, 2013, Archival pigment print on fiber paper, 20” x 24” / 50.8 x 61 cm
Fabiola Menchelli, Triad, 2018, Archival pigment print on fiber paper, 16″ x 20” / 40.6 x 50.8 cm

Fabiola Menchelli, Parallax, 2016, Archival pigment print on fiber paper, 30″ x 40” / 70 x 100 cm[/caption]

Fabiola Menchelli, Cosmos I, 2018, Archival pigment print on fiber paper, 19” x 24″ / 49 x 61 cm

Bajo el Sol Azul

Bajo el Sol Azul


2015 – 2017

Bajo el Sol Azul


2015 – 2017

Bajo el sol azul, Fabiola Menchelli, BWSMX Brett W. Schultz, Mexico City. From October 7th – December 16th, 2017

Under the Blue Sun originated during Fabiola Menchelli’s 2015 residency at Casa Wabi, a Tadao Ando-designed residential compound for artists situated near Puerto Escondido, along the Oaxacan coast of Mexico. An observatory on the premises, intended by Ando as a site for deep contemplation, became Menchelli’s source of inspiration for a new body of work about the poetics of observation.

Over the course of 28 days, Menchelli photographed the shifting light that slipped into the observatory’s imposing, concrete structure. Capturing the rhythmic, cyclical shifts of the sun across multiple exposures, she began to transpose the physical dimensionality of the architecture into immeasurable space. The resulting images were printed with a 170-year-old photographic process called cyanotype, reproducing the rough, uneven curves of the observatory walls with a technique that’s notoriously difficult to control. Quite literally drawing with light, these new works were informed by the same wabi-sabi philosophy that inspired the building itself, one that embraces the imperfect and transient elements found in nature.

Menchelli presents ‘outside’ and ‘inside’ not only as spatial elements but also as temporal dimensions. By unifying multiple exposures, she blurs the boundaries between the observatory’s solid edge and the vast, impenetrable sky. The overlapping layers of blue tonalities metaphorically fold in upon one another, adding a depth and richness that both abstracts the spaces depicted and the time in, during, and over which they were captured. By removing the clear visual referents via which one might more easily read or understand the image, Menchelli manipulates our own perceptive powers in order to complete the work.

In 1838, John Herschel, the inventor of the cyanotype, captured one of his earliest images through a circular window: that of a telescope belonging to his father, the renowned astronomer William Herschel. Somehow the act of looking beyond — of collapsing space and distance through the manipulation of our organs of perception and our sensory experience — also too creates a circular path linking Herschel, Ando, and Menchelli. Each one looks beyond and then ultimately back, to reflect on the nature of the very thing they seek to capture. Through science, architecture, and photography their works speak not only to light and the spaces that it illuminates but to the subtle revolutions we experience as the result of profound contemplation.

Under the Blue Sun is presented as two cycles of seven images and in this way, Menchelli too comes full circle. Each image, through its imperfect curves and asymmetrical forms, reveals an experience captured in order to eventually be continued by others. Their multiplicity and the ever so subtle variations across repetitions amplifies each image’s own subjectivity, echoing the simple realization that a finished product is always still a
work in progress.

— Asha Bukojemsky

Bajo el sol azul, Fabiola Menchelli, BWSMX Brett W. Schultz, Mexico City. From October 7th – December 16th, 2017
Bajo el sol azul, Fabiola Menchelli, BWSMX Brett W. Schultz, Mexico City. From October 7th – December 16th, 2017
Bajo el sol azul, Fabiola Menchelli, BWSMX Brett W. Schultz, Mexico City. From October 7th – December 16th, 2017
Bajo el sol azul, Fabiola Menchelli, BWSMX Brett W. Schultz, Mexico City. From October 7th – December 16th, 2017
Bajo el sol azul, Fabiola Menchelli, BWSMX Brett W. Schultz, Mexico City. From October 7th – December 16th, 2017
Bajo el sol azul, Fabiola Menchelli, BWSMX Brett W. Schultz, Mexico City. From October 7th – December 16th, 2017
Bajo el sol azul, Fabiola Menchelli, BWSMX Brett W. Schultz, Mexico City. From October 7th – December 16th, 2017

******

Fabiola Menchelli, Sin Título, 2015-2017, de la serie Bajo el Sol Azul, Cianotipo sobre papel de algodón, 61 x 76 cm, 30 x 24″
Fabiola Menchelli, Sin Título, 2015-2017, de la serie Bajo el Sol Azul, Cianotipo sobre papel de algodón, 61 x 76 cm, 30 x 24″
Fabiola Menchelli, Sin Título, 2015-2017, de la serie Bajo el Sol Azul, Cianotipo sobre papel de algodón, 61 x 76 cm, 30 x 24″
Fabiola Menchelli, Sin Título, 2015-2017, de la serie Bajo el Sol Azul, Cianotipo sobre papel de algodón, 61 x 76 cm, 30 x 24″
Fabiola Menchelli, Sin Título, 2015-2017, de la serie Bajo el Sol Azul, Cianotipo sobre papel de algodón, 61 x 76 cm, 30 x 24″
Fabiola Menchelli, Sin Título, 2015-2017, de la serie Bajo el Sol Azul, Cianotipo sobre papel de algodón, 61 x 76 cm, 30 x 24″
Fabiola Menchelli, Sin Título, 2015-2017, de la serie Bajo el Sol Azul, Cianotipo sobre papel de algodón, 61 x 76 cm, 30 x 24″

Ellipse

Ellipse


2015 – 2016

Ellipse is a series of abstract photographs created in May 2015, taken inside a concrete observatory, and formed by multiple exposures within the camera.

The series represents a composition of light, shapes, shadows, lines and forces. The expression, not only through a single picture but also as a whole, is the result of various elements; the materials, the light, the shadow, the edge of the concrete, the air, the ocean and the horizon all work as an influence on the creative process.

The purpose is to create, from one image to another, a spiral in motion. Shapes, circles, ellipses and movements are organic and energetic; forces in contact with each other. Showing intangible ideas that can be felt and connected through what awakens in each person.

Geometry, as space and source of inspiration, generates images that are open to the interpretation of the observer. However, it is inevitable to perceive the strength they have when they combine and generate a greater space.

The series seeks to awake a reflection on the bond between human beings; how a stronger space is constructed in community, the same way an image meets another sibling image, and they connect.

Ellipse


2015 – 2016

Ellipse is a series of abstract photographs created in May 2015, taken inside a concrete observatory, and formed by multiple exposures within the camera.

The series represents a composition of light, shapes, shadows, lines and forces. The expression, not only through a single picture but also as a whole, is the result of various elements; the materials, the light, the shadow, the edge of the concrete, the air, the ocean and the horizon all work as an influence on the creative process.

The purpose is to create, from one image to another, a spiral in motion. Shapes, circles, ellipses and movements are organic and energetic; forces in contact with each other. Showing intangible ideas that can be felt and connected through what awakens in each person.

Geometry, as space and source of inspiration, generates images that are open to the interpretation of the observer. However, it is inevitable to perceive the strength they have when they combine and generate a greater space.

The series seeks to awake a reflection on the bond between human beings; how a stronger space is constructed in community, the same way an image meets another sibling image, and they connect.

Dubai Photo 2016, curated by Magnolia de la Garza

Elision

Elision


2016

Elision


2016

Artist Book
Edition of 100
Risographic Print

Elision refers to overlapping phrases in music, when the last note of one phrase serves as the first note of the next phrase, usually for a short period of time.

Published by Special Collections Press
University of Cincinnati
College of Design, Architecture, Art and Planning
www.specialcollections.biz
© 2016 Fabiola Menchelli

Edited by Amanda Curreri and Jordan Tate
Thank you to the University of Cincinnati,
and to Jordan, Amanda and Luke.
Thank you to Laia Rius.




Fabiola Menchelli
Elision, 2016, Artist Book, Risograph Print, Edition of 100




Blueprints

Blueprints


2015

Blueprints was commissioned for the exhibition “Appearances Can Be Deceiving: Photographic Explorations through Mexican Photography”, curated by Irving Dominguez with the support of Museo Universitario del Chopo and Fondo Nacional para la Cultura y las Artes.

This project sought to invert the relationship between photography and architecture, and return the museum’s building to its original space as a blueprint. Over a period of a month, I climbed the towers at the Chopo Museum in Mexico City, registering the shadow of the structure onto cyanotypes. The intention of the work was to reconnect architecture and photography, returning the building to its conceptual state through a poetic gesture that speaks about space in relation to time.

Blueprints


2015

Blueprints was commissioned for the exhibition “Appearances Can Be Deceiving: Photographic Explorations through Mexican Photography”, curated by Irving Dominguez with the support of Museo Universitario del Chopo and Fondo Nacional para la Cultura y las Artes.

This project sought to invert the relationship between photography and architecture, and return the museum’s building to its original space as a blueprint. Over a period of a month, I climbed the towers at the Chopo Museum in Mexico City, registering the shadow of the structure onto cyanotypes. The intention of the work was to reconnect architecture and photography, returning the building to its conceptual state through a poetic gesture that speaks about space in relation to time.

“26 de Agosto 2015, 14:10 h. Torre Sur Museo del Chopo,
tiempo de exposición13 min”
Cianotipia sobre tela montado sobre bastidor
90×60 cm (35 x 23”)
“26 de Agosto 2015, 11:06 h. Torre Sur Museo del Chopo,
tiempo de exposición13 min”
Cianotipia sobre tela montado sobre bastidor
90×60 cm (35 x 23”)
“26 de Agosto 2015, 11:06 h. Torre Sur Museo del Chopo, tiempo de exposición13 min” Cianotipia sobre tela montado sobre bastidor  90x60 cm (35 x 23”)
26 de Agosto 2015, 11:06 h. Torre Sur Museo del Chopo,
tiempo de exposicin min
Cianotipia sobre tela montado sobre bastidor
90×60 cm (35 x 23″)
“26 de Agosto 2015, 10:37 h. Torre Norte Museo del Chopo, tiempo de exposición13 min” Cianotipia sobre tela montado sobre bastidor  90x60 cm (35 x 23”)
26 de Agosto 2015, 10:37 h. Torre Norte Museo del Chopo, tiempo de exposicin13 min
Cianotipia sobre tela montado sobre bastidor
90×60 cm (35 x 23″)
“23 de Agosto 2015, 12:15 h. Torre Sur Museo del Chopo, tiempo de exposición15 min” Cianotipia sobre tela montado sobre bastidor  90x60 cm (35 x 23”)
23 de Agosto 2015, 12:15 h. Torre Sur Museo del Chopo,
tiempo de exposicin15 min
Cianotipia sobre tela montado sobre bastidor
90×60 cm (35 x 23″)
23 de Agosto 2015, 11:45 h. Torre Norte Museo del Chopo, tiempo de exposición15 min”  Cianotipia sobre tela montado sobre bastidor  35 x 23” (90x60 cm)
23 de Agosto 2015, 11:45 h. Torre Norte Museo del Chopo,
tiempo de exposicin 15 min
Cianotipia sobre tela montado sobre bastidor
90×60 cm (35 x 23cm)
“23 de Agosto 2015, 10:47 h. Torre Norte Museo del Chopo, tiempo de exposición13 min” Cianotipia sobre tela montado sobre bastidor  90x60 cm (35 x 23”)
“23 de Agosto 2015, 10:47 h. Torre Norte Museo del Chopo, tiempo de exposicin 13 min
Cianotipia sobre tela montado sobre bastidor
90×60 cm (35 x 23″)

20150830_menchelli_chopo_pre_040

20150830_menchelli_chopo_pre_020

20150830_menchelli_chopo_pre_033

Las Apariencias Engaan: Exploraciones a partir de la fotografa en Mxico, 2015
Project supported by el Fondo Nacional para la Cultura y las Artes & el Museo Universitario del Chopo

Wall Drawings

Wall Drawings


2014

Using the patterns that are formed by the holes on the concrete wall, a set of rules is created to draw a series of geometric structures on to the wall. Wall Drawings is a game obliged by a set of visual rules using a digital projector to draw on the concrete wall.

Participated in the XII Bienal FEMSA.

.

Wall Drawings


2014

Using the patterns that are formed by the holes on the concrete wall, a set of rules is created to draw a series of geometric structures on to the wall. Wall Drawings is a game obliged by a set of visual rules using a digital projector to draw on the concrete wall.

Participated in the XII Bienal FEMSA.

.

Wall Drawings
Fabiola Menchelli, Wall Drawing I, 2015, Archival Pigment Prints on Fibre Paper, 11 x 14″ each

Concrete space

Concrete space


2014 – 2015

Concrete Space suggests the limits and tensions between thought and matter. This body of work presents a series of instant black and white film, taken in different construction sites, framed in concrete. The abstract spaces are constructed inside of the camera, by making multiple exposures on the same picture plane, thus transforming the space into a mental space, that only the camera can perceive. The work seeks to speak about a phenomenology of construction through a series of images that transform the physical space, a space made of concrete, into an abstract plane generated by light. The piece finally returns to its physicality by pushing of the wall and remembering its concrete reality.

Project supported by Fondo Nacional para la Cultura y las Artes.

Concrete space


2014 – 2015

Concrete Space suggests the limits and tensions between thought and matter. This body of work presents a series of instant black and white film, taken in different construction sites, framed in concrete. The abstract spaces are constructed inside of the camera, by making multiple exposures on the same picture plane, thus transforming the space into a mental space, that only the camera can perceive. The work seeks to speak about a phenomenology of construction through a series of images that transform the physical space, a space made of concrete, into an abstract plane generated by light. The piece finally returns to its physicality by pushing of the wall and remembering its concrete reality.

Project supported by Fondo Nacional para la Cultura y las Artes.

Project supported by Fondo Nacional para la Cultura y las Artes.