Prelúdio

In musical contexts, the prelude presents itself not only as a mere introduction to a final composition, but also as an autonomous piece. In the homonymous series by Fabiana Preti, the analogy suggested by the title likewise applies: her first investigations with compositions based on geometric patterns, colors, and forms are developed technically through tilework applied to industrial objects, in a kind of rehearsal of spatiality.

Preti transforms the tile—historically associated with utilitarianism—into a dynamic and sophisticated platform for visual research. The objects are altered in the studio through organic textures resulting from the use of oil paint, exploring the threshold between geometric rationalism and organic gesturality; or else organized into combinatory modules that escape symmetry and incorporate strangeness. In Prelúdio, tiles cease to be mere wall coverings and instead become “wall objects.”

Gabriel Babolim