In the series entitled "Transitions" Roberta Lima shares her experiences in other surroundings, such as Finland and the Philippines. In these works Lima debates the environmental aspect of feminism in everyday life and art. These "new spaces of the performative" offered Lima the opportunity to explore with self-sustainability and alternative sources of materials for producing and performing artworks. Lima explores with the aspect of everydayness by reproducing images and gestures of washing, hanging, dripping as a metaphor for the art production and consumption. The performative and element of self-representation enable the work to the viewer. They create a narrative: the canvas is washed wrapped around the body; the sea air prepares the canvas; the snow drips on the canvas. Likewise, the presentation of the artworks plays an important role in Lima's concept of the feminist of everydayness, as multitasking woman. After the performance, the canvas hangs inside the exhibition space and above the viewer's heads, like a cloud. The rope/wires interlace the space, like a network: between living, moving, and working in Austria, Finland, and South East Asia.|
Note on the title:
It origins from the combination of the words "arch" (English) or "arq" (Portuguese) to the words "feminist" or "feminista" (Portuguese). The two terms in both English and Portuguese languages, refer to important elements of Roberta Lima's work, such as archive, architecture, and archetype. The idea of using a "k" instead of "ch" or "q" served to transform the word in a more colloquial way, like slang. When Lima wrote "ArkiFeminista" she discovered that in Finnish it actually means "feminist of everyday".