THE SHELL AND THE GARDEN

Come with us, look at the gray; Enter here, look at the gray. Can you see that profusion of vibrant colors? It looks at its limits in a beautiful way, doesn’t it? After the color takes hold, it leaks and drips to the floor. The eye stops at a green: a metal background outlines the possibility of form here.

Come with us to look at the proposition of fields of color and the handling of simple materials, at how this space proposes the construction of a dialogue that stems from history, memory, gesture, and how existence crosses our eyes and leaks from our fingers.

Here it is about how we look at the idea of hunger, of affection, of such, in this way with images that inhabit the domestic, familiar, and intimate idea through artisanal techniques like fuxico, and become matter through the practice of Driano de Souza (Salvador, 2002); look at what comes from the hand: glue, or lap, safe. And weaving from the idea of a peripheral affection that frays from popular markets to the fingers of the great-grandmother, in a dialogue between comfort and nourishment that responds to its environment in a vertical, incisive way: the act of anonymously feeding life, or as in a dance between what is natural or not, spreads and takes the space through the paintings of Marcelo JP (São Paulo, 1981), where fields of color, sometimes diluted, sometimes brutally solid, lead us to question the limits that exist in the representation of nature and the urban landscape, assigning to the pictorial a utopian capacity for landscape construction, where interior and exterior spaces move and breathe inside and outside the composition. Breath.

Looking back, it is as if our eyes, full of desire, are guided to the new advent of support, to new possibilities of glazing and stacking, to the new discourse that the relationship between time and layer authorizes at the moment we are confronted with the immense abyss that is the gesture, the ways we dilute it, its responsibility with history and with everything that is there: be it stain, be it body. Like a subtle authorization, it enters the ways we represent—or assume representation, in painting and sculpture today. This perspective, which looks at displacement through gesture as something authorized, not negotiated.

Guilherme Teixeira