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A part of my research about images, and their potential handling like drawing and painting, converges on vegetal and animal universe. Plants, flours and birds constitute a subject that allows me to explore the line within a complex level of configurations. Vegetal and animal universes let me establish a connection between my childhood memories that spent with my paternal grandparents in the village, the artwork of French painters of the late 19th century and my daily fruition from my balcony, looking to the outside garden and to the plants of my atelier. On a fast digital and technological word, I am interested in preserving a relationship with the natural as a way of encounter a primordial harmony as an act of endurance and survival.
The exhibition at the Espaço Amoreiras’ atrium is an invasion of the natural that searches the contrast between the functionalism of the building and the waving lines of plants and animals. The set of drawing and paintings organized itself on a dynamic composition through the space, inviting the observer to make a journey through the installed artworks.
Jorge Leal, 2016
In the pathway of a drawn speech
The report of the line/ trace
“[…] as if, just as I was about to draw, I no longer saw the thing”.
(Jacques Derrida)
Everything seems to happen in this induced space where the commitment with drawing hold us between the sight/seeing and taken. Shed place by the knitted movement where the meeting is fixed to the connected hand action and the territory-paper. Fecundate gesture, an impregnating rhyme that circulates and transits through the various paper types, like some kind of communication-irrigation that makes the hand engendering flow at the oriented exercise of fingers, arms, and entire body. In this flux that establishes and instigates the spontaneous expression of the existence and creation, the speech of the thick brush line is devoted – diluted in the water’s move –, set by the Indian Ink on paper.
Vast and dense trace transforms into a weightless lift of a bird, as if it was a flight, such is the journey in the time-bird’s wings travelling and recreating a shallow flight, fragments of the natural and animal world – revealing the matter and the organic. In this movement of the creative imaginary, the time-bird returns to the surface and rests on the branch or on the finger, in a prolonged act like the voluptuous couple. Contact and pure pleasure. Consolation and Pulsion. Volcano and explosion. Disruption that dilates and ecstasies the eye (the pupil) reaching the naked surface where the liquid pours and the sap marks the aligned and interlaced trace that remains endless, unfold and supported by the tactile eye.
Silvestre Santos, 2016