Ever since I was a kid, I was immersed in a progressive millieu, schooled across disciplines. Later, I got my B. Arch. and my studies and interests ranged wide from architectural forms to their conceptual practice. I was taught to believe that the "idea" is primary to practice. How interesting that, when I carry this conviction into my studio today, I make incredibly tactile things: one-of-a-kind prints that have been built up of many layers of ink; chine-colle and color viscosity; paintings in oil on canvas and rough, re-purposed, industrial tarp; delicate sculptural objects; and small-but-durable ceramics forged in a process called Saggar Fired, where organic material is fused onto clay in a gas firing. Given all this diversity, you may ask: how do I know a piece is done? The answer is, when its concept has weathered the alchemy of many different materials and processes and brought to a place of perfection/completion. Complexity should, at its best, yield something direct and pure.
Sheila Goloborotko was born in Sao Paulo, Brazil, and began showing her work in 1980 at the Salao National de Artes Plasticas in Rio de Janeiro. She had published several limited edition portfolios and her work has been presented in major museums and galleries in Brazil, Argentina, Japan and the United States and is part of such major international collections as The Brooklyn Museum of Art, San Francisco Modern Art Museum and Munson Williams Proctor Institute. Her portfolio of prints "Eyes that Saw and Became Fish" is part of the New York Public Library permanent collection of rare prints. She is a visiting professor at Pratt Institute and a faculty member of the Lower East Side Printshop in New York.
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