”(...) Gabriela Bettini is aware that the vacuum and the silence are never a neutral space, nor are they neutral in a History of Art and Life that, in just the last few years, has become aware of the need to reconstitute and reconstruct itself, by adopting less questionable structures and other possible sequences that are less chronological and more capable of valuing interstitital or intermediate spaces – if we follow Rànciere’s thought -, that through their digressions and curves, they get us closer to the oral narrative, as a complex alternative which dares to deviate from the established canon.
In this respect, Gabriela Bettini has worked on the idea of Nature as a colonised landscape several years and she does it pictorially by reviewing different historical models of representation of Nature and also evincing how, at this stage, woman falls within the paradigm of violence. This way, on the basis of a non-linear narrative emerged from her personal research, in her previous pictorial series she critically investigated the images created by the baroque artist Frans Post, while gathering images of current landscapes where feminicides had been committed. In that way, she gave visibility and recognition to women who defended the environmental cause.
The exhibition Primavera silenciosa is another example of this. One of her starting is the homonymous book published by Rachel Carson in the early 1960's. A pioneering publication on the environmental impact where she blames the Chemical Industry for the current environmental pollution and in which she warns against the harmful use of pesticides. Curiously enough, Carson was unjustly accused of lacking in scientific rigour, but it has been proved not to be the case. The other main line of the project is a series of engravings created by Maria Sibylla Merian that were
published in The Metamorphosis of the insects of Surinam, at the beginning of the XVIII Century. With them, she revolutionized the Western way of understanding the South American landscape, by proving the close relationship between the species and ecosystems where they live. This premise is essential for understanding Gabriela Bettini's Art Work, which constantly reminds us that the Nature isn't natural. On the one hand, because Nature is a cultural construction of images, a memory. This cultural existence, this construct, enables us to look beyond where we see. The place presents itself as a testimony. Nature is not just what is seen, but also what is imposed, what is silenced, what is disciplined, or what is destroyed. And that’s how her paintings are, two types of images are mixed together in them, in her own words, “those that are allusive to the Nature as a space of interdependence between the species and those that are representative of what Vandana Shiva has called “the Monocultures of the Mind”, which homogenize, standardize and commercialize all kinds of life”(...).”