“Insistence is our effort, desistance is the prize. One gets the prize when she has experienced the power of building and, in spite of the taste of power prefers the desistance. Desistance has to be a choice. To desist is a life’s most sacred choice. To desist is the true human moment. And it alone is the glory proper to my condition. Desistance is a revelation.”
Clarice Lispector

Carolina Antoniadis persuades the viewer to fall into an abyss once more, but this time she indicates the open windows from which it is possible to spot the exit gates and gaps that lead one to the past as the shelter that weaves the miracle of the future.

The windows and scenes in the pattern open themselves to us as a warp without the weavers hands. They are scattered subjects whereas they are part of a narrative identity, which gathers characters, moments and places for the sake of re-signification and re-narration.

Apparently, Antoniadis seems to say that speaking with ghosts is possible since true thinking can neither be perceived nor touched. This true reflection of the mind floats in the air of livingness, between the baroque rendezvous, the falling negligence and the eschatology of modern gods.

The artist urges the viewer to reflect about the misteries of the experience of time, setting aside faces, myths; dwellings and furniture, among memories and future projects, in order to dress, wear, and re-wear the paradoxical structure of leaving time behind, that is to say, giving it away.

Her artwork takes place between the fabric and the colours; the former leave the trace of something that happened, but is not longer remembered. Her paintings are odes to total oblivion, as well as, revealing its future existence. They display a new cycle that blows up the intimate photogram to make it visible to the viewer.

In this fashion the intimacy of recollection is presented: showcases containing ornaments, sheen and dullness, as pieces of her tattooed, unattainable yet corporal, mask, that endangers the chinaware generating debris that is plodded through as if in an archeological site that has full knowledge of life experiences.

Just as the desistance of Clarice Lispector turns into a restatement, that is to say, to state again, Carolina Antoniadis redefines her work filling every empty space and trying to “re-define” time and scenes covered and snuggled up in the pattern.

Giving testimony of time, uttering time is painting it. To pattern time is not only to give it a limit and location, but also space and a voice. This seems to be the intention in the paintings and installations. The artist tries to capture the scene of a private moment inside a locket that holds a memento and memories. She transforms the past events into present and current life situations that are eager to announce future times.

Everything does not belong to her anymore. Thus, she is still the owner of everything. She already got something more than what was missing.

As Clarice Lispector would say, in the case of Carolina Antoniadis, loving others is so vast that it includes forgiving oneself with the love that remains.