Participant in the national trend of the Constructivism, Valdeir Maciel was self-taught and attended very closely the circle of theorist and critic Theon Spanudis, who glimpsed, from the beginning, the prodigious talent of the painter.
Using the most geometric shapes simple: the triangle and its folded shape, the rhombus, the square, the rectangle and, as result of the rhythm of his painting, the trapeze, bold colors and several nuances.
By the characteristics of his works, Valdeir can be included in the North American trend from Hard-edge abstraction (from difficult translation into Portuguese): the painting of well-defined contours. With finite forms, flat, sharp edges, this part are not intended to evoke in the spectator no memory of shapes which he may have seen in other situations. They are autonomous, self-sufficient forms. This geometry is part of the to depart from the expressive qualities of gestural abstraction. Many other painters also sought to avoid post-Cubist spaces the work of Willem de Kooning, and these places adopted the open spaces of a single color that can be seen in the work of Barnett Newman. Thus, the Hard-edge abstraction is characterized by economy shapes, color intensity, execution impersonal and flat surface planes. Cartesian without departing from the emotion, Valdeir Maciel produced one marked by
rigorous geometry and balanced colors, constituting a lyrical geometric. Their can be grouped into two blocks: that of symmetric geometry (where shapes overlap or group in a way stable) and irregular geometry, almost
chaotic (where the composition balances mainly by the now vibrant colors, now melancholic). In both cases, forms and colors, Valdeir Maciel is surprising.