Two braces dialog, and potentiate each other, by complementing forces and narratives. Both works of Luisa Almeida and Sani Guerra suggest exquisite techniques that reveal themes blended with precision, thus allowing an interlocution among artists. The exhibition curated by Ana Carolina Ralston “Onde havia florestas, habitam almas”, finds connecting dots on Emmathomas Gallery’s mezzanine floor, from March 30 to May 4.
“On the one hand, the purity of the faces carved in wood reveals a naive body, yet one prepared to fight. On the other, the exuberance of colors where a sublime presence is detected, but which can not be completely deciphered, “points out the curator.
Signaled by the relation among the adopted thematic and high contrast, which are typical of this technique, Luisa Almeida’s woodcuts offer the observer expressive characters, inserted in scenes meticulously constructed, usually marked by scenic resources-an influence inherited from her performance at operas and theaters. Part of her research revolves around alternative printing methods for large-sized engravings. She also deploys forklifts and/or rollers in her work, creating true artistic performances.
Frequently ubiquitous in its engravings, the weapon binds women of different generations. While female figures go to war, children, still not understanding the real meaning of the struggle, wait for them, often armed, too, to uphold themselves from the unknown. “The relapse in positions as to how they secure their rifles shows the innocence that begins to fade along with its inherent conflict, as though the artist seeks to examine a current symbolic relation of the object with society,” comments Carolina.
Rio Sani Guerra, whose recent career has already become a renown one, approaches Luisa Almeida’s creative universe by adopting an instigating way to create, by employing a thick layer of oil paint, giving the canvas an infinite amount of overlapping colors.
Her painting brush enhances the ink in body and volume, bringing to her fantastic universe a surrounding fauna and flora back to life. We immerse into Sani’s particularly conceived universe by means of her fragmented language of nosediving memories and references, “says the curator.
Likeliness is something the artist deliberately seems to be unaware of. Her scenes match diverse motifs. People, animals, plants, objects and buildings are placed side by side in unconventional proportion and perspective.
In “Seres do Acaso”, her new work, she attributes even more mysteries to the scenes and stories she builds up. “If previously the figures did not fit the scenarios by our own Cartesian reasoning, they now seem to float, as a whole, or, at times, by the lack of. Beneath the loose veils in a garden transformed by the bristles of Sani’s brush in lush forests, magical beings can inhabit, as well. Any image is plausible within this enchanted scenery, “concludes the curator.