Gibin in folder So far I am here ...

Starting from the antithesis of the self-portrait, although using the body as a representation of her double, the artist chooses the territory of haziness and displacement to cause reflection on what cannot be seen, but only suggested. Transiting with extreme subtulty between the technical and the poetic, she builds images that evoke immateriality; and, paradoxically, the more is covered, the more is revealed. Scenery and character merge into one, giving new significance to the space, making a tacit agreement with time. Camera and body transmute the narcissistic representation of the image in a universe of dilution and belonging. Feminine beauty imposes itself not as something particular, but as a timeless representation of a perfect object of desire. Therefore, we, before this game of mirrors captured by the wonder and power of images, surrender ourselves to the ineffable.

 

 

 

Lucia Santaella in Art and Life in the XXI Century - Technology, Science and Creativity – Organized by Diana Domingues-  Publish UNESP, 2003, p.73

"The Memory of the Body in The Arts of the Bio Cybernetic Body

"In this second tendency, artists turn to the creation of sui generis records, sometimes odd ones, of the physicality of their bodies. Such is the compulsion with which manifestations of this type continuously repeat that it leads us to think of the need manifested by the artists for laying such records in the future, as models, indelible memory of a body whose complexion, size and physical shape are in the process of mutation. Example, disturbingly clear, of such tendency is the work of Del Pilar Sallum, especially in the series Ataduras, in which the 'artist molds metallic wires, compulsively around her hands and fingers, which become molds. Unmolded, the moles turn into past, and the sculpture shape resultant tells of an emptiness of a body and a time that have passed'." (Canton, Kátia. 1997)

 

 

 

Emerson Dionísio in Folder of presentation - Parallel scenes in the Museum of Contemporary Art of Campinas in 2003

“The works chosen by the artist herself privilege experiences that seek to demolish the obvious “view” of the world and its issues. Of the body devoid of its necessary logic in the work of Sallum…”

 

 

 

Lúcia Santaella in Technological Culture and The Body Bio Cybernetic in Interlab-Papers; 1999 Labyrinths of contemporary thought . Org Leão, Lucia Sao Paulo: Publisher Illuminations , 2002 .

"Nowadays, for instance, artists turn to the creation of sui generis records, sometimes odd, of the physicality of their bodies. Such is the compulsion with which manifestations of this type continuously repeat that it leads us to think of the need manifested by the artists of laying such records on the future, as models, indelible memory of a body whose complexion, size and physical shape are in the process of mutation. Example, disturbingly clear, of this tendency is the work of Del Pilar Sallum, especially in the series Ataduras, in which the 'artist molds metallic wires, compulsively around her hands and fingers, that become molds. Unmolded, the molds turn into past, and the sculpture shape resultant tells of an emptiness of a body and a time that have passed'. " (Canton, Katia (1997). “

 

 

 

 

Tadeu Chiarelli in Presentation Folder of the Panorama of Brazilian Art 97 - Modern Art Museum of São Paulo from November 7 to December 21, 1997

“While other artists present here seek to rescue the memory of the body through the indications of its passage, with the signs of its absence. Fundamentally death metaphors or life’s transience, the works of Del Pilar Sallum and (…), among others, seem to define a type of art where the sign of the absent body is the fundamental element.” 

 

 

 

Maurício Nogueira Lima in folder presentation - Scheduling Notice in the Museum of Contemporary Art of Campinas in 1995"

“...Del Pilar Sallum, from Campinas, with small sequential objects as if they were true treasures…”

​

​

​