Landscape ◄ Back

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“In der Zeit des Verrats Sind die Landshaften schön.” Heiner Müller (In times of betrayal Landscapes are beautiful) A Landscape is a translation of an encounter. It can also be an expression of an encounter missed. We have the other before us, able to be tamed or wild, a reason to be calm or uneasy, beautiful or sublime. Ever since it ceased being background and moved to the forefront of the painting as the main theme, the Landscape indicates a relationship with alterity, with the other within us, which as a mirror reflects the image of a presence. The cutouts of nature, the choice of what is able to be represented, the artifices invented to produce illusion, result from a system of categorization which permits one to dominate and live in a world. They show the horizon of habitability of that world. The Landscape explores the most basic structure that, from my perspective, I see as a possible field for coincidences between the being like this of my body and the being like this of nature: the near and the far; the tall and the short; penetrability and impenetrability; the left and the right; the contained and the uncontained; the front and the back. The resulting image shows the system for composing these structures: that which was chosen as more important, that which was expressed and that which was annulled, that which became object and that which remained background. In today’s art, the Landscape has naturally been revisited, more as an expression of an uneasiness than as an image of domination. As the representation of a world on the border of being inhabited. As a vision of a man before nature, whose forces seem to resist combination as proof of the insufficiency of classifications. As the exploration of encounters missed, but also as the anxiety of re-encounters. Above all, it depicts a need: the need to take leave of ourselves, in order to return to ourselves. The necessity to place between parenthesis the diagnostic themes of our joys and sorrows, in order to see anew with this vision, and with this body which nature and history have manufactured for us. Within this process, painting no longer holds a privileged place, but has maintained its uniqueness. Which springs from a great metamorphic power and from the recombination of elements. Which arises from a particular mediation of the body that executes and makes choices at every moment of that execution. Which is permitted due to the freedom to choose, with each gesture, between similarity and differences. Due to the possibility of landing on an error. Due to the continuous, specific work of the vision within the entire, irregular line of the process. João Queiroz

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FONSECA MACEDO - ARTE CONTEMPORÂNEA | 2017