«Bicéfalos» ◄ Back

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Tomaz Vieira, «island man», continues working from within the peace he inhabits, where, from the centre of our devastation, we can hardly believe in the existence of such an imaginary world, with the torturous representation of dreams, ghosts, fears and always remaining hopes. The sensitivity of the island resides within him, and appears on the surface, mixed with the signs of various acculturations, in America and in Europe, the rational concrete surrounded by water on all sides, the dog men that we wonder if they speak or howl to the moon, the portraits enveloped in naïve narratives, the submerged libraries, the conger eels, the scenes of violence and possession on water, rivers and lakes, returning more and more, submerging the world - or the island, who knows. But the island is a symbol of the world, on which houses are moved as the ocean of blood begins to swallow the white beaches, the columns and urban wreckage, the photographs (conserved for a long time) of the immigrants petrified on the other side of the Atlantic, sensuality lost and found, the rigorous lettering of yore, the alphabet of life covered again by landscapes, archipelagos floating in space, not on the ocean, Kubrick after Jupiter. The stars move the islands, slowly, almost without our noticing, but the sky that Tomaz contemplates (and sprinkles with water from the lake and with seagulls void of destiny) is not the same that is contemplated by the muses from the frozen ends of Argentina, nor is it the same that was packed up and tied with ropes - the announcement of all departures, the furrowed happiness of some arrivals. From the text by Professor and Painter Rocha de Sousa published in the catalogue/book «Bicéfalos», Tomaz Vieira.

Rocha de Sousa

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FONSECA MACEDO - ARTE CONTEMPORÂNEA | 2017