In the Dwelling of Suspended Instants | Priscyla Gomes

​

​

In music, suspended instants designate moments in which temporal experience is interrupted or expanded—whether through the sustaining of notes and chords, through unfinished resonance, or through the persistence of silence. It is a liminal condition between expectation and rest, one that reveals listening as an active, meaningful experience. This experience, though sonic, finds parallels in everyday life: moments that, by their transient nature, tend to dissipate in the very act of appearing.

​

To inhabit an instant is to recognize its transience. Its peculiar tendency to fade even before it is grasped seems to make this intention a paradox. Would it be possible, then, to build a shelter for the ephemeral? A place where silence becomes presence and summons contemplation?

​

Julia da Mota, Lucia Glaz, and Natália Guarçoni bring together poetics in which these questions take form in painting. Their works propose a space of welcome for that which, by essence, is fleeting: pauses that interrupt the flow of time, silences that become matter. They are refuges where the transient and the elusive are transformed into sensitive permanence.

​

The geometric paintings presented, composed mostly in pastel and grayish tones, establish an atmosphere of suspension and delicacy. In their apparent conciseness, they reveal a grammar of lines, planes, and rhythms that unfold like breaths: neither abrupt nor definitive, but in constant latency. In them, geometry is not a rigid imposition, but an open field in which colors dissolve, forms blur their limits, and planes allow themselves to be traversed by time.

​

Guarçoni and da Mota share a singular intimacy with architecture. Their exploration of the limits between transparency and rigor builds landscapes erected in subtle layers, opening fissures toward the understanding of what is intimate to them. Their translucent forms stretch the passage between the visible and the invisible, evoke natural metamorphoses, and suggest portals of light or mist.

​

The paintings of Lúcia Glaz, in turn, inscribe themselves within a tradition that understands color not as a mere physical attribute, but as a sensitive experience in transformation. Her research begins from a constructive rigor yet transcends it, embracing a subjective dimension.

In Glaz, as in da Mota and Guarçoni, color is not a stable surface but a perceptual phenomenon that expands and contracts as the gaze lingers. In this context, lines and planes do not assert themselves as boundaries, but as passages. Gentle rhythms establish prolonged pauses, and geometry reveals itself permeated by the delicacy of the ephemeral. Each work takes shape as a temporary dwelling of the instant, where color and space intertwine as living matter.

​

In the suspension of these instants, the gaze rests in silence. Each work returns to us the experience of an expanded time, inviting us to linger between one gesture and another, where rigor dissolves into softness and presence transforms into permanence.

​

São Paulo, September 2025.

​

[original text in Portuguese]