by Henri Guette

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The sound of vibrating and spinning blades has something menacing. Lyz Parayzo's mobiles and their metal clanks require the visitor to take cautious steps, paying attention to their body and movements.

 

This conditioning work continues even in the pink light filtered through gels, altering perceptions in the pure tradition of optical and kinetic art. The Brazilian artist, who possesses a deep understanding of the specificities of the art history of her country, likes to reference Lygia Clark and the way in which she sought to engage the viewer.

 

By reinterpreting the sawtooth pattern of the "Bichos," which encouraged manipulation and modulation, Lyz Parayzo aims to transpose a defensive reaction, a strategy of resistance with her "Bixinhas." What if the sculpture no longer gives but creates distance, evoking absent, feminine, or transgender bodies?

 

She, who presents herself as both an artist and an activist, indeed speaks about non-normative bodies and the "leather" or "queer" community, according to the Anglo-Saxon expression.

 

The recurrence of the circular saw, which she cuts and presents as spirals, creates a paradox, or rather, tension. Sharp for those who attempt to approach, it is also protective for the person who remains at its center. The artist clearly evokes power dynamics, violence, and desire in her installation where the metal still alludes to production chains, social and economic inequalities, and industrial exploitation. It's a cutting polysemy as well as a rallying symbol for various struggles.

 

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