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With its bright color palette, the tone of the work is joyful. “The first idea was to call it A Symphony for Nature,” Gomes explains, like her earlier hanging-pendants works that have had the word symphony in the title. “But when it was ready, I realized it was much more related to Carnival than the symphony.” Accordingly, the title she went with, Ó Abre Alas—the outdoor artwork and the larger exhibition, which includes the indoor presentation, have identical titles save the exclamation point—is a nod to the opening float of a Carnival parade (a rough translation is Open Wings) and to the 1899 song “Ô Abre Alas!” by the pioneering Brazilian composer Chiquinha Gonzaga. “Outside looking in, Carnival just kind of looks like a big party,” says Ossei-Mensah. “But what it represents, particularly for Afro-Brazilians but also across the Global South, is an act of resistance, an act of celebration. There is a cultural history that she wants to celebrate.” Gomes’s sculptures have a biomorphic feel to them, even while being fully abstract. With each knotted protrusion there is a suggestion of a body, or at least a body part, not unlike the work of Senga Nengudi. The organic shapes, even when laced with neon ropes and synthetic sequins, have a softness to them that offers a welcome contrast to the often hulking, metal-based (read: masculine) sculptures scattered throughout Storm King’s grounds.Penn State Nittany Lions On Saturdays And Philadelphia Eagles On Sundays Helmet Logo Mashup Shirt
Though she hasn’t had work installed outdoors before, Gomes is hardly new to bringing the natural world into her practice. “Her relationship with the land really has come to the fore with this particular project,” says Ossei-Mensah. Wood, for example, has served almost like a canvas, a base upon which she paints and sews. And she has long held a fascination with ratios found in nature, namely the Fibonacci sequence. That’s how she chose 13 for the number of pendants in her Storm King installation and 34 for a breathtaking installation in the atrium of São Paulo’s Pinacoteca museum I was lucky enough to see in 2023. For her work to live outside feels correct—even overdue—for Gomes. “You can’t put something on view here that is separate from the environment, separate from the trees and the green and the sky above,” Lawrence says. Sonia Gomes, Untitled, from Raiz series, 2017. Courtesy of the artist and Mendes Wood DM, São Paulo, Brussels, Paris, New York.
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