Spiral forms recur in nature and ancient symbolism, representing cycles like life, death, and rebirth and appearing in seashells, plants, and the golden mean. Maria Nepomuceno centers her multimedia practice on spirals, linking natural occurrence with spiritual significance of time and flowing energy. The exhibition Cunhó at Sikkema Malloy Jenkins emphasizes abundance through iconography of female anatomy, jars, ceramic vessels, baskets, and seashells that suggest fertility and wealth. Nepomuceno employs traditional Brazilian craftsmanship to create undulating, beaded, and woven sculptures that hang on walls or nestle into corners. Works appear both soft and firm, evoking cells, macrocosmic landscapes, and symbols like ouroboros in pieces such as Abraço and Mar Amor.
Through millennia of artistic expression and within the natural world, the ubiquitous spiral continues to mesmerize. In ancient traditions, the form often represents cycles. The triskele, for example, consists of three interlocking spirals thought to symbolize death, life, and rebirth or the triad of mind, body, and spirit. Spirals also emerge naturally in seashells and plants, sometimes linked to the concept of the golden mean, also known as the " divine ratio."
For Maria Nepomuceno, the spiral's occurrence in nature-along with its spiritual significance relating to time and energy in perpetual flow-underpins a vibrant multimedia practice. Her forthcoming exhibition, Cunhó, which opens next month at Sikkema Malloy Jenkins, emphasizes abundance. Iconographic references to female anatomy, jars, ceramic vessels, baskets, and seashells-the latter of which are emblematic of fertility and wealth-emphasize flourishing interactions and growth.
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