A POÉTICA NA OBRA DE MAGDA VICINI

THE POETICS IN THE ART OF MAGDA VICINI
Sandra M. Abello
Contemporary art is characterized by shifting the viewer's gaze toward elements of everyday life that often go unnoticed. By valuing the simple, the ephemeral, and
the seemingly banal, many artists propose an aesthetic experience rooted in attention, pause, and sensitivity. In this context, Magda’s work stands out for constructing a visual poetics that invites the observer to reconsider their relationship with the surrounding world.

Through precise framing and rigorous formal choices, Magda directs the gaze toward common elements of nature and the everyday environment, transforming
them into objects of contemplation. Her work goes beyond the mere recording of images; it proposes an exercise in perception that encourages the viewer to
slow down and recognize the aesthetic power of the simple.

Magda’s work transcends the purely aesthetic realm, establishing itself as a vehicle for reflection on the act of seeing and on everyday experience. By valuing daily life and a sensitive gaze, her visual compositions create a poetic narrative that reinterprets the ordinary and restores the viewer's capacity to see. In this sense, her poetics engages with the idea that contemporary art shifts attention toward things rendered invisible by routine. By transforming the banal into an object of contemplation, the artist breaks away from the logic of spectacle, proposing an aesthetic experience based on attention, pause, and attentiveness to the ordinary. 

By positioning the observer's gaze on the same level as the object, Magda disrupts traditional visual hierarchies and proposes an experience of encounter between subject and world. Furthermore, by employing framing that alternates between the macro and the micro, she leads the observer from the panorama to the detail, expanding the perceptual experience. This approach can be understood in light of Jacques Derrida’s thought, particularly regarding the notions of the trace and the displacement of meaning.

For Derrida, meaning is never fully present but is constructed from absences, vestiges, and differences. Thus, by highlighting what normally remains at the margins of the gaze—the everyday, the banal, the minute— Magda enacts a kind of deconstruction of the visible, bringing forth meanings where previously there was only indifference. In dialogue with Gaston Bachelard, one observes that her work reaffirms the poetic dimension of space and sensory experience, in which detail and 
intimacy play a central role, establishing itself as a significant contribution to the contemporary debate on the gaze and the everyday. This gesture also shifts the traditional notion of centrality: what was once considered peripheral takes center stage, and what seemed evident reveals layers invisible to a hasty glance. The gaze ceases to be dominating and becomes relational—a gaze that engages with materiality, time, and the work’s context. This articulation highlights how perception is
culturally constructed, shaped by visual habits, expectations, and conventions.

Thus, Magda’s proposal challenges traditional modes of seeing and interpreting, suggesting that all visuality is also an ethical and political stance. To see, in this context, is to assume responsibility toward the sensible world. Contemporary art, then, does not merely present images but produces experiences that question our regimes of visibility and expand our critical and sensory capacity to perceive the real.

References
BACHELARD, Gaston. *The Poetics of Space*. São Paulo: Martins Fontes, 2008.
DERRIDA, Jacques. *Writing and Difference*. São Paulo: Perspectiva, 1991.
DERRIDA, Jacques. *Of Grammatology*. São Paulo: Perspectiva, 1973.