Casa Triângulo is pleased to present Rodolpho Parigi's first solo exhibition at the gallery, Sem Título [Untitled], curated by Ivo Mesquita, where he presents a set of paintings and drawings, an unfolding of his previous production. Distanced from the whirlpool of signs, images and representations, however, they reveal a more reflexive attitude, an enlarged time, a more elaborate process, the internalization of his repertoire. The paintings are no longer treated as a series and take on an autonomy, each imposing its own time. The avidity, commitment, ambition – all the energy that drove the previous works – is now contained and channeled in a search for density and condensation of that which previously marked a carnivalesque and bombastic style. As the British painter Francis Bacon observed, painting is something for old men, that is, it is constructed in the deepening of the artist’s experience with painting, his recognition and mastery over it, to define the meaning of his own painting. Parigi dives into this pursuit. This new phase can be summarized in two large murals, two stagings of painting: The Song of Love and La danse [The Dance]. They are both histrionic and surreal, with an operistic tone, and are constructed by an intricate combination of successive pictorial layers between foreground and background (now a baroque space within the painting, apt for a staging), and, unlike the claustrophobic and unfinished surfaces of previous works, in these paintings the various steps of the work process remain visible with all the drips and restarts, expressing a sincere and affective view of beauty.
A set of artworks in smaller formats uses a more economical palette to create paintings where the work with nuances of color constructs a shape or excavates the interior of a body in the plane of the canvas. Violet volumen and Magenta volumen present a long-standing theme in Parigi’s repertoire: viscera and detailed anatomical drawing, in two monochromatic works where the painter’s mastery over the material is intensified, against the grain of the monochromism of minimalism, proposing a fanciful aesthetic perversion to minimize it. On the other hand, Tetê and Piscininha [Little Pool] play with a Brazilian memory of sculptural configurations between Tarsila and Maria Martins, like the sensuous pink outline that descends on the right side of The Song of Love. They are images painted schematically, with a somewhat retro-futuristic look, compressed on the surface by a seductive and ambiguous painting of effect, unsettling the notions of beauty and educated taste.
Parigi believes that an artist can manifest the absolute power of individual imagination and that his (Parigi’s) search for beauty requires a recognition of the highly artificial as a foundational and productive experience. His imaginary does not refer to the “natural” world, but to the world reconfigured by human culture. It is inhabited by myriad forms and representations, dissimilar images drifting about, which the artist gathers and works on, operating in an indefinite terrain between the demands of the unconscious, the desire, and the process of the work’s positivation, which will place them once again into the real. The use of decorative, ornamental and excessive strategies allows the artist to make a symbolic assertion of his sexuality while also allowing him to celebrate the pleasure of simply looking at and imagining the world: the image of the image of the image; the painting of the painting of the painting.