They are blue, gray, orange forms. Flat and straight, sometimes curved. Open and unfolded. Concrete or modular, small or large, these forms are also articulated designs constituted by sums of textures, materials, and gazes.
Leticia Lampert looks at the cities.
She stares, gazes, admires.
She looks and sees what belongs to all of them: windows, overlapping planes, concrete walls, city tones. Wall hue.
She looks and reads what is design, path, trajectory in them. Horizon line where there isn’t always a horizon, vast universe of color in a small piece of sky. Sky that becomes a swimming pool, swimming pool a puddle, watercolor in the stain of the concrete. Gaps in the crack.
Skyscraper. Railing. Ceiling height.
Blind gable.
Drumming, touch, stump.
Rhythm.
“You can’t step on the line,” says the child, whose foot still fits easily on the uneven cobblestones.
Walking through the city, the artist encounters prohibitions, detours, discomfort. Even so, she transforms discomfort into invention. She sees possibilities for creation, for encounters, for challenges. Building blocks, hopscotch, elastics. A bottle, jacks, dozens of uncertainties.
Without words, a poetry of form, everything reverberates in folds of space.
And right here, at V744, the floor mirrors architecture, the wall becomes a building, the parts of a whole move apart like an expanding puzzle. And in the middle of the room, and on the table and in the corner of the house, is the city. An invisible city as only poetic imagination can construct.
Gabriela Motta
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Text written for the presentation of the exhibition *The Matter of Landscape*, held at V744ateliê, in Porto Alegre, in August 2025