Carla Gimbatti, who divides her time between Buenos Aires and New York, begins her work with obser- vation. Interested in origins, she wants to know what lies behind the patterns and textures of the world—the marks of time and experience written into everything from immense sedimentary land formations to the tiniest details of human handprints. Her sculptures, frequently made from molds taken on remote sites, unravel those stories and rewrite them in new forms. Far from literal copies of the natural record, Gimbatti’s fragments and repeated modules are translations of experience, conveyors of contexts both specific and continually expanding. Over the last decade, she has dedicated herself to the investigation of multiple materials and formats, dialoguing with people and nature, and transforming those encounters into serigraphs, photographs, and sculptures. Her focus on stories has also led to several collaborative, social practice works.
María Carolina Baulo: Your sculptural work unfolds from the magnetic attraction you feel toward
nature and experimentation with different materials. Could you explain what draws you in?
Carla Gimbatti: My bond with nature leads me to observe and immerse myself in a texture, an image, a color. I can find something that intrigues and impacts me during a trip to a remote place, in a garden, or
in a book. I begin to investigate, and that is where a series of questions starts: How was that landscape, that texture, formed? How long has it existed? How to bring remote and beautiful places closer? How to share them in a new structure? . . .
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