[A] LA FLEUR DE LA PEAU
Throughout the journey of Paulo Nazareth’s [A] LA FLEUR DE LA PEAU it is impossible not to evoke the abyss metaphor suggested by Martiniquais writer Édouard Glissant in Poetics of Relations. The image of the ship operates as a place of exile for Black bodies on the way to the unknown. The first abyss is experienced when entering the ship. The second is the sea crossing. Great Kalunga. The third abyss is the inverted image of glimpses of memory where new roots are laid through networks of learning. Rhizome. The shared knowledge of an experience of meandering exile, where every identity is extended through a relationship with the Other. Paulo Sérgio da Silva. Paulo da Silva. Sérgio da Silva. Ser da Silva. Paulo Nazareth. Nazareth Cassiano de Jesus. The Mother of his Mother. Ana Gonçalves da Silva. The Mother of his Sister. Ana Maria da Silva. The Grandmother, the Mother, The Sister and Motherhood. His Égun or Égúngún, for the Yorùbá people. Or, even, his Marét, for the Boruns, Indigenous people from Vale do Rio Doce. The ancestral spirit. Nazareth also becomes art materiality and immateriality. Transit between worlds. Transit between times. The act of travelling and handing out pamphlets reasserts the place of aesthetical conduct: expanded performance, generational event. Selling homemade soap made with chicken fat, sugar, lime, avocado, urucum. Distributing pamphlets-cards-leaflets for dentists, healthcare plans, Candomblé houses in Belo Horizonte (Minas Gerais). All work activities that the artist has performed in the past.