PROPAGATION
The works that I had presented in propagation exhibition are for me like the undulations that appear when one throws a stone into the water, ripples that by contact, create other ripples and propagate themselves, little by little, in ample reverberations. The same system links these works. Although they have been realised in different formats and at different times, all of them return to the same questions as to painting and a certain vision of the world.
The six installations that I am showing have been constructed in repeating independent elements which combine themselves by means of light variations and following different rhythms, to create a form. They are structures placed in situations of a fragile balance, in states of instability. They admit no hierarchy while all the time playing on intensities and silences. They also have for me a relation to time, but a time without beginning or end.
caixas coloridas (coloured boxes) 1999 - 2000. Oil on canvas, 30 x 40 cm.
les équilibristes (the acrobats) 2005 – 2006. Polyurethan painting on wood., 2 x 3 x 200cm.
mar de Bahia num dia de chuva (the bahian sea on a rainy day) 2006. Polyurethan painting on wood, 3 x 4 x 100 cm.
the tube 2005 – 2006. Polyurethan painting on cardboard. Diameter 10 cm / H = 10, 20, 30 cm.
propagations 2006. Animated cartoon, production and editing karine duchâtel, photos dominique roy-le-gac, music álvaro lazzarotto, drawings and direction iracema barbosa.
das angoisses (anxiety) 2003-2004. Drawing on paper, Indian ink and black lead, 20 x 30 cm.
Looking at modern and contemporary painting has nourished my quest: Matisse's painting and collages, Malevich's suprematism, Mondrian's composition, Ellsworth Kelly's fields of colour, Bridget Riley's optical vibrations, Sean Scully's recent paintings. To say nothing of such great Brazilian artists as Alusio Carväo, Ione Saldanha, Sérgio Camargo et Eduardo Sued, among others.
What gives my work its north, more than the pleasure of drawing is the idea of acting to actively reconstruct the world that surrounds me. It is a reconstruction through simple gestures: cutting, sandpapering, painting, making vibrations, balancing, scattering and reuniting bright tones, touches and pieces of colours, to transform them into something else. There is in this action a longing for transcendence, a desire to touch, to separate and at the same time to reunite that which composes our being in this world. This work has a certain spirituality to it. It has nothing to do with religion. But it inspires me deeply and permits me to create these forms which are more or less near to us.
(for the invitation of propagation’s exhibition at atelier d’estienne)
