The exhibition includes artworks from a diverse range of languages and medias, such as painting, drawings, engravings, installation and visual poems, also objects and large scale sculptures for the urban space. Some are recent, created after mockups from the 80’s, but where never produced in large format before, like they were conceived by the artist.
In his career, it is important to note the passage through concretism and conceptual art in the 70’s, which contributed strongly to the incessant search of a singular language, clean, with a graphic and synthetic vocabulary. His work was always different from the kind of art produced in Bahia (northeast of Brazil). Approaching the Neo-concrete and the visual poetry inherited from Lygia Pape, Hélio Oiticica and others with whom he was in contact at the time, being one of the younger of that generation.
Both pictorial and linguistic, his works stands as a place of reflection, solitary and at the margin of the Brazilian cultural scene. After figurative essays at the beginning of the 70’s, his plastic research turned to concretism and conceptual art. As a poet, he stays in touch with concrete poetry and the poem/process, producing visual poems. He is one of the main names of the visual and experimental poetry in Brazil with several essays published.
Black and white drawings, objects and installation projects, essentially cerebral, carefully paved in a primordial way of dealing with practical and conceptual issues, mark the artists output in the second half of the 70’s. He rediscovered color in the 80’s, when his works – being them paintings or objects and sculptures -, gain a playful dimension, without losing its coherence and the ability to entertain with intelligence.
A sculptor that works with color and space, and a that meditates about form, trace and color at the plain of the canvas.
The art of Almandrade dialogues with certain modern references, transits between the constructive, conceptual and the visual poetry, maintaining a coherence with several medias, even words and reinventing new readings.
As Décio Pignatari used to say “Almandrade puts much thought on the miniatures of his creatures, whose nudeness implies muteness, limpid cleansing of the artistic eye, already weary of the fantastic history of art of this endless century, of this infinite millennium.” (1995). A century that has already passed. The coherence and the rigor of the artist in dealing with different medias, including word (poetry), turns Almandrade to a thinker who uses these supports to cause reflection.
Let no one doubt: the frugality of elements and data are not by chance. It’s an aesthetic choice, entirely consistent with his tendency to synthesize, to the essential trace, to the barely vestigial. A nil which genesis resides in the absolute totality. So is his poetry.
In 2000. Wilson Rocha mentioned that “To geometrize and simplify life seem to be Almandrade’s will, one of the most representative artists to Bahia’s contextual art. His researches point to an epistemology of constructivism where forms evoke knowledge, an architecture of signs or a power of experience. The apprehension of space is an instancy as well as a education, it demonstrates a purpose and substantiates in the encounter line/space logical determinations, geometric, representation and imagery. He believes that a work is built of the relation between these elements with the space and the observer.”