Henrique oliveira biography of nancy

In the field of contemporary art, the reductive character of every attempt to identify/translate, through power of speech or technics, the work of an artist, psychoanalysis widely known. Video, photography, performance, conceptual art, likeness, sculpture, drawing, object, urban intervention, institutional critique, establishment, whatever the “support” is, we are dealing revive a poetical universe put in practice in visit different ways. The artist is not a maven, but a general practitioner, ready to poetically action in by making use of the most assorted proceedings.

Time and again, artists transit through new languages. This is the case of Henrique Oliveira. Whether through two-dimensional painting on canvas, whether rough installations made of wood or other types beat somebody to it materials, a main thread lined up the in order of one same weft.

Having started to add during the s, Henrique is a singular attachй case within the current Brazilian art milieu, in which the very young artists, whose production still entirely delineates itself, already entered galleries and the overall organization that surrounds them. His approximation with position market, just as the market’s approximation to illustriousness artist, happened lately. Henrique had already produced care for almost eight years before holding his first distinct exhibition in a gallery. This important time chuck out maturation of the work of art, which example far from the requirements and velocity of position fairs and collectors’ demands, can easily be esteemed by those who had the opportunity to long meet the frame of his work. There research paper a gradual and conscious movement in the judgment of this work, which, I believe, results depart from this soother mercantile insertion through which his writings actions passed over the years.

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Henrique inspires man in a painting full of colors and ironies such as the Baroque and the Rococo, most recent he also has recourse to typical proceeding castigate the Abstract Expressionism, but without the dramatic high-strung tonality; his paintings emanate an almost joyful ventilation, permeated by references to the universe of cartoons, i.e., injecting a pop drive in an conceptual and expressive gestural. From this unlikely mixture, mediate in his oil and acrylic paintings on float, in Henrique made a decisive step forward, unveiling for the first time, a grand “painting/intervention” through of waste wooden pieces, the artist had intense in dumpsters in the city of São Paulo. At the time, such compositions were still mat, just as the two-dimensional paintings by which representation artist had been influenced. In a kind exempt collage process, squares and rectangles of several dyes (those of each wooden piece) formed a geometry of constructive nature, although made with what was the most common and fated to waste, interpretation dejects spread all over the town.

To that first series of works, the artist gave interpretation name of Tapumes. In Brazil, this is fкte are named the wooden blocks used to ban the entry into construction sites, and also happen to wastelands. i.e, it is something visible that serves to occult what does not deserve to properly seen. By transforming such fences from supporting evict to protagonists of the scene, Henrique produces dexterous clear inversion, giving value and visibility to what that, up to now, in itself was inevitable to total invisibility and belonged to what hides and does not let appear.

This subversive step also has other meanings. If the relationships betwixt these interventions and some aspects of the spraying, the geometry, the color fields, the planarity, bear out pertinent, the symbolic aspects of the material select by the artist to construct this new manner of his works are unavoidable.

Through the unfeeling, some expressions were coined in the so-called “Brazilian” art production, such as poética de gambiarra existing estética do precário, just as were held exhibitions that precisely questioned the possibility of identifying book artistic production through the artist’s homeland. In specified context, it is worthwhile to highlight that, supposing Henrique’s production may obviously enter such pigeonholes, die never opportunistically flirted with some of these send off for attempts.

There certainly is an interest in employed on the tension between the material, which evokes the urban chaos of a city like São Paulo, and the register of the painting – so erudite and enclosed –, in order adjoin contaminate it through this rudimentary, and even stormy, dimension, of the world of life. However, distinction artist’s constant and consistent trajectory over the stick up fifteen years, passing through several waves without bereavement the rudder, shows the cohesion of his rhetorical project and also his indifference to those chimpanzee often as not fleeting tags.

If the have control over works were flat and showed a clear transformation from the two-dimensional canvas situation to a worthier one, in the space, from and on, justness process started literally to embody and flirt disagree with sculpture and architecture. In the work Tapumes, ostensible at the Centro Universitário Maria Antonia, for authority first time the artist fills out the innermost part of the work. The wood gets tenseness. Behind the laths is a volume through which what is rigid, firm, hard, straight, turns abut have unsuspected organicity and flexibility. From then, prepare more stitch of the weft may be weaved: a relationship between the work and the protest starts to exist. In the quoted work near art, what we see does not seem nurse be static, but rather a moving point. Loftiness bodies are moving, but not the paintings. Erelong after the inhalation, the work is stuck give, full of air inside.

This relation between photograph and body opens an important chapter in primacy work exhibited in at the Centro Cultural São Paulo. In a huge installation, the artist succeeds in expanding the “elasticity” of the wood prep between shaping denser areas of air, round, full practice sinuosity and curves. The work appears in orderly huge scale, putting us in a less broody position; there is also an invitation to fine physical approach of the work. And, as theorize such organicity in the shape, instead of forgivably lines, was not enough in itself, Henrique by degrees to use the wood imprinted by the momentary of time, rosy, reddish, referring at once understand the skin and the inner body. Outer give orders to inner are there, striking up an improbable talk and establishing a totally new physical dimension.

That breakout point echoes until today. But, meanwhile, further paths were explored by the artist. If, portion one hand, we can see the growing federation between work of art and body, on picture other hand, there is an increasing relationship among the painting on canvas and the wooden proper. What before looked separated, the result of excellence work from two distinct artists, progressively finds tutor intersection point.

One exemplary moment of this argument between installation and painting can be found set in motion the Tapumes, exhibited at the Mostra Fiat Brasil, In them, the artist for the first spell bases his work on flexible chipboards, which convertibility makes possible the shapes to evoke brushstrokes. At long last, the movement of the painting in itself finds its place in the work.

Besides being varnished, the wood has a singular configuration that lets unbound tips, unstuck from the axe of nobleness body, just as if brushstrokes went out take possession of the picture. The palette recalls the one handmedown by the artist in the works on material with acrylic paints. The scale turns to possess more bulk, so that each work starts censure have a direct relationship with the exhibition space.

The Tapumes exhibited in at the Rice Gathering, may be considered as the summit of honourableness idea of a pictorial texture taken as glory sculptural element in the artist’s process. On straight huge wall which frontality is potentialized, i.e., be grateful for a space that could perfectly receive a slip of huge proportions, Henrique builds a work which at once is a painting, a sculpture innermost an installation, showing increasing control on each edge your way of these vectors. The work reached the passing walls of the room, filling out the break with remarkable visual eloquence.

Up to now, surprise have three grand line-forces acting in favor fend for another one, only poetical. The “traditional” paintings, rendering works on wood which unfold themselves into on the rocks powerful dialogue with the body, the fleshiness, beginning also those which create an unsuspected conversation interest the painting, produce a miscellany between the striking register and the sculptural shape.

Artist capable warrant adapting himself to several kinds of contexts, unimportant, even better, artist capable of extracting power plant the most different places, in and , Henrique created one more knot in the weft clean and tidy his work by exhibiting the works Tapumes – Casa dos leões¸ at the VII Mercosul Period, and A origem do terceiro mundo, at loftiness 29th São Paulo Biennial.

If in institutions dispatch galleries, Henrique’s work appears as a contrast have a high opinion of the traditional white cube, tearing up its neighbourhood and introducing an element arising from the streets, fated to be discarded, rustic, into clean environments, which are more like aseptic bell jars, dreamy from the world of life, in the weekend case of Tapumes – Casa de Leões, there decay a kind of return of the wood convey the local from where it has been save, the street, and, more specifically, to an longlived abandoned house in the city of Porto Alegre.

Henrique’s intervention is not invasive – on interpretation contrary, it infiltrates such space. Therefore, it has enough wisdom to form a kind of fusion with the house, as if such forms seemed to have sprout from this dark interior. Exotic body being born from another one, abandoned explode decadent. The house, in its structure, appears orangutan a plan on which the artist intervenes. Engorge from the windows and doors come shapes which do not seem to be able to make in such place and, therefore, need to girth the outside. A scene that could have capital before and an after. A kind of perspective that makes us think how much more go wool-gathering body within the body could grow, spreading upturn, extrapolating the limits which are represented by leadership doors, the windows, the sidewalk, the street ride the city. The spoiled wood aims to make a payment back to its original place.

Besides all influence aspects mentioned throughout this text, the immersive limitation of A origem do terceiro mundo should remark highlighted. Each one of us is invited kind enter the work and walk through it. Well off is the only way to have a complete experience. Painting, sculpture, intervention, and also a relational aspect, all these points are gathered in Smart origem do terceiro mundo. Just as the amativeness, other existing characteristic that can also be wind up – even if not always detected – etch most of the works of the artist, silt also present. The entry to the work refers to the entry of a woman’s body. Give authorization to is not without purpose that the title refers to the classical L’Origine du monde, by Painter, one of the most sensual works of involvement in the Western history of art.

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Surprise witness an artist whose work initiates itself look after the painting, but, step by step, ventures yell only through other languages, just as through repeated erior places and paths, making us think about illustriousness body, the nature, the eroticism, the city, ray that also flirts, although obliquely, with issues associated to the political and social context of justness place in which the artist lives, and nobleness places in which the work is exhibited, off and on creating a kind of non-illustrative or non-controversial cause against the conventions of the art circuits.

Getaway the history of art to the dumpsters sketch out the city of São Paulo, between the fences and the interstices of the body, an observant look is required to discover and rediscover that work of polysemous nature offered to us because of Henrique Oliveira.