Muro O’Reverie, 2009
Paint, fresco and layers of wallpaper
In Muro O’Reverie, a wall unveils the memory of a room through by layering different wallpapers, frescos and paint, later teared by the artist. It suggests the passing of time in an architectural interior. It’s about constructed and fictional history of a room that had different purposes: as a child bedroom, a teenagers punk rock shelter, a school classroom, a store on sale, a dancehall, and a garage. The wall lets the imagination run through the events and the lives of those who lived there.
Connected directly with the mural painting tradition, Seeber uses industrial elements: the wallpapers to tell stories. Each wallpaper becomes someone’s presence and expects that through the industrial imagery available, time, moments and occupations can be recognized. Trough this method, the images become archeological symbols in a big city.
In a corner, a black hole cuts through the chromatic effect of the mural through an empty shredded wall, making the artists touch even clearer: disclosing, re-discovering, this metaphor of the black hole that rests next to the remains of a staircase, from a past rescue operation, with abstract lines imprinted on a perished building.
Dialogville, 2009 – 2010
Dialogue bubbles lacking works. The work is composed of transparent glass sculptures created by means of the free blowing technique that reminiscent of the comic language, but located, in this case, empty of text, phrases or conversations. The absence of words or a space open for multiple conversations? The artist focused on grouping this dialogues of group conversations in the spaces of circulation within the foundation: outside the exhibition galleries, on the auditorium entrance, corners of reason.
The bubbles located in this corners mark the space of a past dialogue: loving, political, violent, artists…? Also in this piece, Seeber demonstrates her artistic field for the reconstruction of history, time though symbols, vulgar and universal imagery on the global age.