ALMANDRADE
Thinking about Art from my Experience
Man protects himself through language, but in art the language is the path that takes you to the unknown, where the artist thinks about images to inhabit the intimacy of the world.
To contemplate a work of art is to share knowledge, to take on a set of ideas that belong to a secret code, unveiled by the thought of a look. To answer its challenge, we are always imagining realities and references, that are not made up from definite readings. Each spectator reads what he wants to read, according to his own experiences, his repertoire and his cultural interests, resulting in definitions that are more or less close to the nature of the opus.
A work of art is never completely finished. It is always demanding new observations, as a result of the transformations in thought. Concepts will be added along the way, as if the act of observation itself gives rise to new knowledge and doubts regarding the object of art.
Drawing
To fill the surface of a sheet of paper until you come into contact with the depth of disorder, to inscribe and redefine emptiness. To diagram space and pursue a sense from a distance. The story behind the drawing and emotion. A treatise of semiotics that revolves around itself, objectifying a state of tension. The eye laughs, religiously, at the sensuality of mathematics. Silent writings, do not speak, show nothing. Parallel mirrors that repeat different images. Enigmas that are beyond perspective. Maps of geographical regions that cannot be located. Mirage, abyss, abstraction of absence.
Sculpture, object and setting
The images of levity and equilibrium invent themselves, dialectically, in the process of making something, and in the challenge that the hand and the mind goes through when dealing with matter, space and concepts. The feeling of levity reveals the effort of building, with a metaphor meaning flight, the poetry of the unexpected, the transition from disorder to order, relating reasoning and discerning.
Discreet and contradictory, the parts interact in a momentary (and lasting) rest. Matter coated with color results in a completely different reality, marked by tension, equilibrium, rhythm and the suggestion of space.
To contemplate a work of art is to share knowledge, to take on a set of ideas that belong to a secret code, unveiled by the thought of a look. To answer its challenge, we are always imagining realities and references, that are not made up from definite readings. Each spectator reads what he wants to read, according to his own experiences, his repertoire and his cultural interests, resulting in definitions that are more or less close to the nature of the opus.
A work of art is never completely finished. It is always demanding new observations, as a result of the transformations in thought. Concepts will be added along the way, as if the act of observation itself gives rise to new knowledge and doubts regarding the object of art.
Drawing
To fill the surface of a sheet of paper until you come into contact with the depth of disorder, to inscribe and redefine emptiness. To diagram space and pursue a sense from a distance. The story behind the drawing and emotion. A treatise of semiotics that revolves around itself, objectifying a state of tension. The eye laughs, religitory, the parts interact in a momentary (and lasting) rest. Matter coated with color results in a completely different reality, marked by tension, equilibrium, rhythm and the suggestion of space.
Painting
Painting has become a form of canvas restoration. Behind the white surface, where hand and reasoning will come into action, live many shadows, forming an obscure landscape, hiding some of the conflicts of the visual world. The canvas is like an old blackboard, not so much black anymore, but gray. The chalk and the friction of the eraser left behind the scars of numerous scriptures. This is the canvas, a territory with traces of many inscriptions. To paint is to deal with the ghosts of painting, to excavate the density of a surface which looks white, in search of references to build a place, even if it is an unfinished place, to stimulate the reflections of the eye. Painting re-emerges from itself, allowing its dreams and wrinkles to appear, revealing doubts and imperfections, giving the invisible a form. Color and trace vibrate and question themselves as attributes of a support that shelters the staging of a painting.
www.expoart.com.br/almandrade
http://www.imperios.com/monse/escultor/almandrade/almandrade.htm
Man protects himself through language, but in art the language is the path that takes you to the unknown, where the artist thinks about images to inhabit the intimacy of the world.
To contemplate a work of art is to share knowledge, to take on a set of ideas that belong to a secret code, unveiled by the thought of a look. To answer its challenge, we are always imagining realities and references, that are not made up from definite readings. Each spectator reads what he wants to read, according to his own experiences, his repertoire and his cultural interests, resulting in definitions that are more or less close to the nature of the opus.
A work of art is never completely finished. It is always demanding new observations, as a result of the transformations in thought. Concepts will be added along the way, as if the act of observation itself gives rise to new knowledge and doubts regarding the object of art.
Drawing
To fill the surface of a sheet of paper until you come into contact with the depth of disorder, to inscribe and redefine emptiness. To diagram space and pursue a sense from a distance. The story behind the drawing and emotion. A treatise of semiotics that revolves around itself, objectifying a state of tension. The eye laughs, religiously, at the sensuality of mathematics. Silent writings, do not speak, show nothing. Parallel mirrors that repeat different images. Enigmas that are beyond perspective. Maps of geographical regions that cannot be located. Mirage, abyss, abstraction of absence.
Sculpture, object and setting
The images of levity and equilibrium invent themselves, dialectically, in the process of making something, and in the challenge that the hand and the mind goes through when dealing with matter, space and concepts. The feeling of levity reveals the effort of building, with a metaphor meaning flight, the poetry of the unexpected, the transition from disorder to order, relating reasoning and discerning.
Discreet and contradictory, the parts interact in a momentary (and lasting) rest. Matter coated with color results in a completely different reality, marked by tension, equilibrium, rhythm and the suggestion of space.
To contemplate a work of art is to share knowledge, to take on a set of ideas that belong to a secret code, unveiled by the thought of a look. To answer its challenge, we are always imagining realities and references, that are not made up from definite readings. Each spectator reads what he wants to read, according to his own experiences, his repertoire and his cultural interests, resulting in definitions that are more or less close to the nature of the opus.
A work of art is never completely finished. It is always demanding new observations, as a result of the transformations in thought. Concepts will be added along the way, as if the act of observation itself gives rise to new knowledge and doubts regarding the object of art.
Drawing
To fill the surface of a sheet of paper until you come into contact with the depth of disorder, to inscribe and redefine emptiness. To diagram space and pursue a sense from a distance. The story behind the drawing and emotion. A treatise of semiotics that revolves around itself, objectifying a state of tension. The eye laughs, religitory, the parts interact in a momentary (and lasting) rest. Matter coated with color results in a completely different reality, marked by tension, equilibrium, rhythm and the suggestion of space.
Painting
Painting has become a form of canvas restoration. Behind the white surface, where hand and reasoning will come into action, live many shadows, forming an obscure landscape, hiding some of the conflicts of the visual world. The canvas is like an old blackboard, not so much black anymore, but gray. The chalk and the friction of the eraser left behind the scars of numerous scriptures. This is the canvas, a territory with traces of many inscriptions. To paint is to deal with the ghosts of painting, to excavate the density of a surface which looks white, in search of references to build a place, even if it is an unfinished place, to stimulate the reflections of the eye. Painting re-emerges from itself, allowing its dreams and wrinkles to appear, revealing doubts and imperfections, giving the invisible a form. Color and trace vibrate and question themselves as attributes of a support that shelters the staging of a painting.
www.expoart.com.br/almandrade
http://www.imperios.com/monse/escultor/almandrade/almandrade.htm
posted by jim leftwich at 12:38 PM
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