Nazareth Pacheco, an exponent of a generation of artists who emerged between the 1980s and 1990s, when the country was boiling with woman-related prompts, took her feminine condition and her biography, in particular the narratives related to the history of her body , as raw material for its three-dimensional works. After a dive in the past, amid the affective memories, the artist emerged giving life to unpublished works, now exhibited in Registros / Records, individual that premiered on Saturday, May 18, at Galeria Kogan Amaro.
Nazareth Pacheco lived the mourning of his parents, important figures in his career and training, and some surgical interventions in his body, resulting from a congenital problem that the since childhood.
This is how the artist combines past and present, an idea apparent in Registers (2019), an installation made from cuttings of medical examinations of yours and your parents. Finished in the ceiling of the Gallery, the work spreads to the ground and reminds one of a kind of cascade, dense and fluid as life.
Nazareth grew up in an environment of encouragement for crafts, with mother and grandmother adept at knitting and embroidery. It was with them that she learned the craft, at the time of extreme importance to help him develop skills with his hands, which also underwent surgical procedures. It is from this memory that Life (2019) appears, a work composed of his mother's sweaters, distinct and delicate robes, now presented with pearl and crystal restorations, a simple resignification for the failures left by time.
Intimacy with clinical objects is a constant in the life and work of the artist, not only by successive operations, but also by her father figure. In honor of his father, a neurologist, Nazareth exhibits DELE (2018), a triad of brass instruments.
Without fear or modesty, Nazareth Pacheco invites the public to immerse himself in his intimate. This is what she does in the series Momentos (2017), in which he displays records in the pre and post-operative polaroids of one of his numerous surgeries.
At the opening, the artist launches a book that documents her more than 30 years of history. Entitled Nazareth Pacheco, the publication was designed by the artist and had the collaboration of longtime colleagues. The book was organized by Regina Teixeira de Barros and includes analyzes by authors of several generations, such as Ivo Mesquita, Marcus Lontra da Costa and Tadeu Chiarelli, as well as unpublished criticisms signed by Cauê Alves and Moacir Anjos.