Fernanda Chieco borrows the poses and the foreshortenings portrayed in her drawings from photographs of models, friends who pose for the artist with no detailed instructions. The artist usually asks a friend to do any pose and from the position the body adopted in the photograph, she begins to imagine and build up a support system for the body in that specific situation. The practice mounts up to Fernanda’s own experience as a live model during the period she studied in London.
These are layers of eroticism that superpose as the drawings are observed. The objectified body, the abject, the subtle memory of a voyeuristic game between the model and the artist. A cold eroticism that echoes the cynical state of contemporary sexuality, mediated by technology or excessively calculated and protected. Finally, there’s also something erotic in drawing as a language, in the sheer fact that the drawing is drawn, in other words, inscribed in a raw and direct form onto a paper surface, following a principle of transparency and non-erasibility. "The drawn line is always raw, on permanent view. It has no mantle of invisibility to conceal its emergence into the world," states the art historian Norman Bryson. The drawing is explicit. In the works of Chieco, drawing is performance.