Abstraction is an Invention
Abstract art represented a major turning point in European and Brazilian cultural history, changing the paradigms of what was practiced in painting, sculpture, drawing and even photography. However, abstraction remains a concept that is difficult to define, constituting itself in the field of art in opposition to figuration 鈥� that is, it is not an affirmative idea, but is understood by the absence of something. It would be possible, however, to consider that geometry is not abstract, it is the concretion of a form; on the other hand, we could also think that drawing or painting an object would, in itself, be the abstraction of reality in an image that inhabits an imaginary world, of representation. In the end, it doesn't matter what name we give it.? The truth is that artistic works 鈥� figurative or not 鈥� exist in another dimension, in which the rules of language, the laws of physics, social norms and conventions do not need to be followed: after all, everything is possible on the surface of a canvas, in the scope of a sculpture, or in the light of a photograph.
The artists gathered in this inaugural show of Sim玫es de Assis in Balne谩rio Cambori煤 do not employ figurative language in their works, but use figures. Geometry marks the composition in a grid or in lines of ordered proportions and rules, as in the works of Abraham Palatnik, Elizabeth Jobim, Andr茅 Azevedo and Asc芒nio MMM. The same is true of the pieces by Mano Penalva and Jos茅 Bechara, albeit using different unusual materials 鈥� such as sandpaper and rattans that turn into polygons, or used truck tarps that serve as a base for painting. We see suggestions of landscapes and horizons emerging, which materialize in the pieces by Sergio Lucena and Julia Kater.? On the one hand, the soft painting misleads the spectator from the laborious work of the artist who accumulates thousands of thin layers of paint;? on the other, the photographic images are distorted by Kater in layered collages.? Gon莽alo Ivo and Frank Ammerlaan make use of cosmic notions to create stellar, planetary and universal compositions; meanwhile, under another perspective, the geometric reliefs by Juan Parada and Emanoel Araujo bring regular volumetric compositions into space, playing with notions of depth, light and shadow.? The exhibition reinforces the infinite possibilities that abstraction offers artists and the visual field, with shapes that sometimes point to geometry, sometimes to organic lines and intuitive compositions, or even to suggestions of landscapes, horizons and planets, revealing how art history鈥檚 classifications are insufficient to name everything that can be invented.
Recommended for you
Abstract art represented a major turning point in European and Brazilian cultural history, changing the paradigms of what was practiced in painting, sculpture, drawing and even photography. However, abstraction remains a concept that is difficult to define, constituting itself in the field of art in opposition to figuration 鈥� that is, it is not an affirmative idea, but is understood by the absence of something. It would be possible, however, to consider that geometry is not abstract, it is the concretion of a form; on the other hand, we could also think that drawing or painting an object would, in itself, be the abstraction of reality in an image that inhabits an imaginary world, of representation. In the end, it doesn't matter what name we give it.? The truth is that artistic works 鈥� figurative or not 鈥� exist in another dimension, in which the rules of language, the laws of physics, social norms and conventions do not need to be followed: after all, everything is possible on the surface of a canvas, in the scope of a sculpture, or in the light of a photograph.
The artists gathered in this inaugural show of Sim玫es de Assis in Balne谩rio Cambori煤 do not employ figurative language in their works, but use figures. Geometry marks the composition in a grid or in lines of ordered proportions and rules, as in the works of Abraham Palatnik, Elizabeth Jobim, Andr茅 Azevedo and Asc芒nio MMM. The same is true of the pieces by Mano Penalva and Jos茅 Bechara, albeit using different unusual materials 鈥� such as sandpaper and rattans that turn into polygons, or used truck tarps that serve as a base for painting. We see suggestions of landscapes and horizons emerging, which materialize in the pieces by Sergio Lucena and Julia Kater.? On the one hand, the soft painting misleads the spectator from the laborious work of the artist who accumulates thousands of thin layers of paint;? on the other, the photographic images are distorted by Kater in layered collages.? Gon莽alo Ivo and Frank Ammerlaan make use of cosmic notions to create stellar, planetary and universal compositions; meanwhile, under another perspective, the geometric reliefs by Juan Parada and Emanoel Araujo bring regular volumetric compositions into space, playing with notions of depth, light and shadow.? The exhibition reinforces the infinite possibilities that abstraction offers artists and the visual field, with shapes that sometimes point to geometry, sometimes to organic lines and intuitive compositions, or even to suggestions of landscapes, horizons and planets, revealing how art history鈥檚 classifications are insufficient to name everything that can be invented.
What's on nearby
