What was the reaction of our ancestors to the first spark when they flaked stones? Or
when Einstein came up with the formula of relativity theory? It is in this thousandth of a
second facing a grand feat that Gustavo's work seems to find itself.
The work is not only related to the field of art. It goes far beyond. It thinks about scientific
theories and experiments through sensory structures. There’s not, on the one hand, a
concern to clarify established concepts; however there is a provocation, a hint of what a
scientific experiment would tend on the field of art as a visual result. Of course there is a
background research, that’s clarified by a choice of each shape, volume and composition
of the works, as if the ink was flowing in the artist's nerves.
It is a precise work, like a mathematical calculation or a chemical formula, without failures.
But it is not an automatic work, with rule of continuity; in each work Gustavo offers us a
formula for a new discovery. The works are related as research stations in an expositive
laboratory. If there is a theory of organization without chaos it is this palette that the artist
feeds himself with, pulsating and never inert.
Still as in the great feats, Gustavo's works divide the place in front of the methodology, as
technical discoveries or as answers to the artist's questions. The impermanence of the
materials breath and configure themselves as own subjects in this network of so many
elements that form a work of art. The place of his works is not limited to the exhibition
space, but reverberates and permeates our subconscious by activating sensorial fields of
even, I would say, self-knowledge.
What is the role of the spectator and what’s its place in the work?
The painting as a register of time, and of the time itself, becomes a portal that goes to the
artist's "final moment", reflects the present as a mirror and makes us travel back to the
moment we live on, making the artwork always contemporary through infinite streams of
understanding. I venture to say that when the artist creates he predicts the possible
interpretive ways of knowing exactly how and what he is talking about. Such keys of
interpretation that are given to us give in their places to a critical archetype where the work
is clear and without false, subjective and superficial theories.
In this sense Gustavo produces pictorial episodes that must be composed by the
spectator, interlocutor or traveler, produced as a negative to be revealed in the moment of
contemplation. The complexity of the work does not dissolve itself with the high degree of
autonomy proposed for contemplation, he does not work with "personal taste but with all
And if the content of the painting - sometimes - is invisible and its character and dimension
must be kept secret only known by the artist *, the present exhibition is an invitation to
humanity to think in art and about art.
Eduardo Cardoso Amato
- Appropriation of extract from the text of the principense artist Almada Negreiros (1893 –
** The sentence was taken from the work Secret Painting of the Art & Language collective