Everything flows like a river. The aphorism-synthesis of the thought of Heraclitus seems to flood the works in this exhibition, which sails the waters of three coastal artists: the Venetian Giulia Andreani; Argentina Amadeo Azar, born in Mar del Plata; and niteroiense Pedro Varela, today hosted by Rio de Janeiro hills.
The water was rising for many dialogues and points of contact between the assembled work here. Water as dilution feature and damping invoices, both in watercolors and in brushstroke painting almost transparent, subtle and purposely ambiguous. Water as soft territory, symbolic folding, revolving his strange way and revisits herself to be the same and different at the same time, baroque ornament or origami memory.
Water is incontinent raw material streams subject to fluctuations as well as memory. Capable of generating water infiltration and forgetfulness, burnish, vapors, mists. Water filter, separating what matters the stream of images of the world and history. Water blurred, suggesting disappearances and appearances, swallowing and regurgitating the world in a constant exchange of gifts. Water as suspension borders passage between worlds. Water is of all colors, but in our imagination runs very blue, tonal range that is an emblem for art – the Klein Turkey, China Cezanne or Matisse. Water as unconscious, imagination and poetic lap of a great mother.
Andreani has founded his work on historical image search. The set of paintings featuring the show refers to the period that the writer Stefan Zweig fled the Nazis in Europe to take refuge in Brazil. The blue and gray palette reinforces the symbolic and psychological atmosphere that has marked the trajectory of the artist, mixing portraits of real characters in a fictional universe. The idea of appearance – Image exiled from his world and unstable in the eyes – is very strong.
Azar presents a series of watercolors and three-dimensional works that create a kind of game with the constructive gesture and geometric shapes. The notion of exchange and fluctuation of form is always present, as well as a virtual and elliptical design that takes advantage of the weight and type of materials and creates plans from folding – the real and the symbolic. He revisits Lygia Clark at the big table-mounted display, still talking with the memory of modern architecture, so important and ambivalent in Latin America.
Varela is somehow the meeting of these much water. First spurt and delta of our streams, the artist has reinforced in her most recent works, the symbiosis between drawing and painting, haunting and moves his work. The monochrome blue gives more visibility to the references that turn these landscapes in a mosaic, created with elements coming from different epochs and territories: marine beings who attended nautical charts of the sixteenth century can inhabit the same universe of a contemporary image.
The three sail on their own shafts, but become canal bridge and one for the other in visual conversation that we seek to establish. Works that touch on a delicious drift, which is not sinking, but travel and discovery. It flows like a river. It is in this Babel, Agora times, cultures and geographies, this exhibition bathing.