Essence of the visible
by Almandrade Andrade
How to talk about art without questioning the improvised relationship between see and say? My speech doesn’t
exclude the possibility of meanings that can be added to the work, as a matter of fact, these images frequently
enigmatic are produced by artists for the exercise of imagination, inside a cultural system with different individual
experiences. Their readings are modified in the diverse contexts. The alleged theoretical considerations that I
make about my own work don’t enclose any definitive reading. Another accessory that contributes to the
discursive thought and the spectator’s relationship with the art object. The sculptures and objects that I present
now due to a desire to question and challenge the historical eye are built with painted wood planes, glass and
rubber and they’re fitted or articulated through other elements such as: elastic, hinge, nylon, aluminum rod,
sponge, etc. They lean on the wall or on the floor, they relate with architecture and a notion of built space or lean
over their formalism as cold discourse that interrogates the sensitiveness, the reason, the problem of the art
work. They are kind of tense pieces, static, subjected to invisible movements or presenting a suspicious balance.
Color with its sensual meaning is a complement of the work to break the ice and present a frenetic climate,
though depurated and aseptic. Monochromatic surfaces, subtleties of gestures and materials apparently
subjected to a calculation, simple formal, special and chromatic solutions, under a discipline of laboratory test, in
the search for the necessary essence to formulate reflections about the up-to-dateness of sculpture, object (of
art). Not always the logical reasoning determines the construction of a piece, there’s an empiric and subjective
experience in dealing with the materials, colors and the provoking void that exists around the work. Each piece
results from a specific and individual solution, an operation of physical and formal balance/unbalance that is also
emotional; variations in the constructive system, but related among them, by the singular engineering of
conception and execution. They were thought to interrogate themselves, while products of a delimited and
historical knowledge that retains dreams, memories and irrationalities.
