Every work of art is defined by its own embodied formativity, its doing that when doing it invents its own way of doing, because in art what matters is the success of the work in its own and singular concreteness in its formed form. Every work of art is always an expression embodied within a certain limit of expression. The multimedia artist Kithi chose to express herself through the cinematic medium. Its intentional focus is water, and nothing better than kinematics to make it present in its fluidity, plasticity and unavoidable flow. Kithi's work is done like meditation with water, in an intentional coupling marked by the enchantment of the simple, of the dilated temporality, a long pause of the accelerated and stressed mental states. Meditation with water reveals itself in its poetic property as a Water Wheel presented in five somewhat upward movements, as it is as if they corresponded to five steps of a mystical initiation movement in the instant and unfathomable mystery of water. The fifth movement is a synthesis image of the whole work, Hologram. In a way, an experience of states of water in addition to its vital utility, also as a metaphor for the creation of possible worlds and the world that each human being is in his unique existence.

 

The title of the intervention designed by Kithi, Roda D'Água, is consistent with the intention of making the water element present in its poetic virtualities, forming an imaginary water wheel full of surprises and angles to be accessed by the user interested in the aesthetic experience in itself. The wheel is of water and for water, a wheel that in its movement composes a ciranda of moments intertwined by the intention of praising water as the matrix of everything. Yes, water is shown in its most self-power: the water of life that gives life. Plasma water of everything that lives and also achieves self-contemplation in the ecstasy that is the sentient being in its instant and always other event. A wonder that imitates the dynamism of life in its continuous creation.

 

But how can water, being such a common element, be metamorphosed by the hands that capture it in unusual synaesthetic frames? It is when the water turns out to be another, it surprises in its appearance. A crosshair and a capture machine become the field for the revelation of other water spectra, showing it as a mirror of the great war of the worlds of cosmic memory. The camcorder with its precision defined in its series mark is nothing without the appropriating aim of the artist. It is the aim that makes the difference when the new prostheses for expanding the human perception make available on a large scale the power of the aesthetic use of images in their various sensitive registers.

 

Kithi's art-movement work in its formed and repeatable form in its possible exhibitions offers itself as a meeting of an advance of memory for the future of the past and the present. This is the Roda D'Água in its surprising and recurring intentional movement. It all starts with The Battle / Fight. It all starts in the struggle of opposites. A war of primeval forms that evoke protoplasmic bodies in friction and shock. The struggle resembles the battle of life in the liquid environment of its matrix origin. Water becoming the means of revealing the artist's intentionality. After all, everything starts with the great explosion resulting from the meeting of different energy poles. But the figuration of the struggle of opposites is an invention of human intelligence at work. And life itself in its multiplicity presents the struggle as its own constitution. For everything that is alive feeds on what is alive. However, it is the artist's gaze that allows us to follow the vortex of the struggle captured in chromatic effusions and inversions of figure and background. The reverse of the culturally established perceptual pattern surprises the viewer of the viewer who finds himself pierced by what is shown and unveiled. The uncultured continues to open up to the unusual charming.