“ Escutar é resistir à uniformidade do mundo inscrevendo na imagem a densidade de uma história particular, impossível de conhecer na sua totalidade. (…) Ver uma imagem talvez comece nessa disponibilidade para aceitar que o mundo não se torna mais transparente por nela o reconhecermos. A imagem amplia a transparência, mas também a obscuridade do mundo. Num certo sentido, a imagem pode cegar – desafia as ilusões do olhar e valoriza a escuta. “
João Lopes
O percurso individual do artista Trindade Vieira tem conhecido ao longo do seu trajecto, todo um conjunto de criações e de circunstâncias que circunscrevem o entendimento e as vivências deste artista numa realidade visível, mas também pessoal.
Nascido na Madeira, Trindade Vieira tem vindo ao longo dos anos a empreender uma procura conceptual, talvez metafísica decorrente do universo artístico, fruto do seu universo pessoal e íntimo, procurando em lugares e realidades diferentes alimento para a sua arte. Desde as primeiras manifestações, nomeadamente, a instalação Peixe-Espada Preto, que se depreende a transposição do universo íntimo e vivencial de Trindade Vieira para o seu trabalho. A partir desta experiência no campo da instalação, para além da reconfiguração da realidade insular para a sua pintura, tem-se vindo a empreender um processo de conceptualização do acto criador, dirigindo-se, e dirigindo-nos para um domínio mais íntimo do espaço perceptivo do artista.
A sua construção veio, a dada altura, a assimilar imagens conhecidas do Renascimento e do Barroco através da transferência de imagens para a tela como forma de reestruturar uma suposta abstracção que nos redimensiona o olhar para realidades não reconhecíveis adentro do contexto vivencial, sobretudo insular.
A actualidade do discurso de Trindade Vieira reside sobretudo numa criação assente em pressupostos teóricos e conceptuais, como temos vindo a aludir, cuja produção assenta numa aturada procura das raízes existenciais das suas vivências. De facto, tal é facilmente verificável se atendermos às fases criativas que o artista nos tem apresentado desde a sua primeira instalação até às mais recentes exposições ligadas, essencialmente, à matéria, a qual foi tema para quatro exposições, nomeadamente, «A Magna Relação Com a Matéria» (2000), «Matéria e Sedução» (2001), «Memória Estética da Matéria» (2002), e finalmente «Matéria, Lugar de Inquietude» (2002). Estas exposições que giram em torno de um tema comum denunciam exactamente essa procura do artista ao encontro da sua capacidade criativa, mesmo de forma faseada, nas quais ensaia diversos enquadramentos possíveis, diversas manifestações da matéria a partir de um olhar pessoal.
O azo que se atribui à capacidade criativa, recreativa e redimensionadora das vivências é uma constante no trabalho de Trindade Vieira, na qual a procura que empreende não conhece os rumos que toma, mas também não pretende vislumbrar uma meta de chegada. Uma arte em constante devir ou, como diria o próprio, um work in progress e, talvez no entendimento de Picasso, a descoberta não procurada.
Matéria e memória parecem concorrer no mesmo espaço criativo, uma vez que o artista empreende uma busca constante de energias discursivas, como lhe chama, e que interagem nas vivências e na capacidade criativa.
De que memória se fala? Do percurso insular, das vivências humanas – individuais e em sociedade, do espaço-ilha, com o qual se estabelece muitas vezes uma relação de amor e de ódio.
Em definitivo, a arte de Trindade Vieira dirige-se para a recriação, no campo plástico da sua experiência quotidiana do real e é a partir desta operação que se criam os símbolos com que a sua pintura se faz construir, grande parte deles oriundos da bananeira, uma planta tão conhecida entre os residentes insulares.
Com efeito, a matéria não apresenta, no conjunto do seu trabalho uma duplicidade do real, não se apresenta como um jogo de evidências, antes uma justaposição de visões, e afirmamo-lo no sentido mais abrangente da expressão. O acto de ver e de sentir por parte do artista transforma-se na apoteose do visível, mas sobretudo na sua elementar hipótese de transcendência – por um lado, a natureza afigura-se como uma condição existencial indissociável da técnica i.e., ela própria um centro gerador de nova natureza; por outro lado, o acto de olhar não basta, é preciso questionar o acto de ver. O seu trabalho assume, na verdade, uma dimensão telúrica, ligada aos elementos, como também às manifestações naturais através da matéria.
Associado a tudo o que se tem dito, o trabalho do pintor oculta no seu seio um carácter hedónico, o sentido oculto do jogo, no qual interage o equilíbrio físico e emocional. Trata-se sobretudo do estímulo dos sentidos através do prazer da descoberta.
Matéria, memória, energias e descoberta através do jogo. Eis as palavras-chave para a compreensão do trabalho deste artista que encara o acto de pintar como uma acção cumulativa e não linear, e entende o sentido da arte como um espaço aberto à comunicação subjectiva, logo individual, mas também inter-subjectiva, veiculadora das paixões vivenciadas pelo mesmo, e nas suas palavras de mensagens de inquietude, vigilância ou até de serenidade.
É, com efeito, no seguimento do percurso que temos vindo a delinear que a presente exposição de Trindade Vieira se insere. No entanto, algo de novo se oferece ao olhar do fruidor. Se o percurso do artista girava, quase em exclusivo em torno da matéria, nesta quinta exposição da série, a matéria reorienta-se para um sentido novo do devir da investigação do artista. Seguindo o sentido lúdico da criação e do seu sentido implícito de descoberta, Trindade Vieira propõe uma outra viagem ao lugar afectivo da Ilha, num evidente retorno ao lugar da memória, feito espaço de infância. Talvez numa tentativa de reorganizar as imagens arquivadas pelos sentidos do artista na sua memória, o discurso revela-se então sob a forma de perspectiva aérea do espaço físico insular. A matéria, os signos visuais, as linhas-base de construção da sua pintura apresentam neste momento como que um mapa topográfico do espaço familiar do artista, delimitando parcelas de terrenos, cujos campos justapõem-se numa clara alusão à sua experiência telúrica.
Agora, os castanhos, os sépias, os vermelhos, os ocres, remontam à ideia primordial da bananeira agudizando a simbologia da imagem paternal e do retorno à infância, então distantes no tempo. Os restantes elementos – os telhados das casas, o azul dos poços de rega, o contraste do verde dos “poios” opondo-se ao vermelho dos telhados das casas apresentam essa evidente imagem da paisagem insular.
De facto, Trindade Vieira opera, efectivamente, uma topotesia das diversas imagens, sensações e lugares que o habitam desde sempre, não apenas num sentido de ordenação e consequente descoberta, como também na tentativa de reestruturar uma memória que se desvanece com o tempo.
O que temos vindo a expor pode- -nos levar, em alguns aspectos a alguns lugares comuns do universo da arte, mas o trabalho de Trindade Vieira destaca-se, atendendo à especificidade da sua linguagem, da restante produção artística apresentada na Madeira pela actualização da linguagem plástica, pela novidade temática e pela investigação dos suportes e dos materiais com que apresenta os seus trabalhos, mesmo adentro da herança evidente com os meios tradicionais, no entanto, e num pendor mais histórico, com uma forte herança dos movimentos do Pós- -Guerra, essencialmente norte-americanos das décadas de 60/70 e 80, nomeadamente nas suas vertentes gestualistas, espacialistas, conceptualistas, e abstraccionistas.
Mesmo comprometido com uma expressão artística tradicional, afastado das vanguardas e das tecnologias de ponta, Trindade Vieira apresenta um trabalho único, na sua génese. Antes de mais pelo carácter intimista e individual da sua obra, mas também por uma arte que se recria nos seus fundamentos teóricos, reinventando continuamente o seu código e os seus signos rumo a um horizonte que não se quer definido nem concreto.
Resta assim esperar pela continuidade da sua produção e pelo devir dos seus encontros no universo pessoal, depois transpostos para o espaço artístico feitos matéria prima para a sua expressão individual.
Sérgio Benedito
About Trindade Vieira Painting: reinvent the space of the memory.
“Listen is resist to the world uniformity, inscribing in the image, the density of a particular history, impossible to know in its total. (..) Seeing an image, can maybe start the disponibility of accepting, that the world doesn’t become more hyaline just because we recognize it trough the image. The image enlarges the hyaline, but also the blackness of the world. In a certain way, the image can blind – challenges the illusions of looking and values the listenig.”
João lopes
The individual path of the artist Trindade Vieira has met, along its
trajectory, a whole range of creations and circumstances that define
the understanding and life experiences of this artist not only on a
visible reality but also on a personal one.
Born in Madeira, Trindade Vieira has been undertaking a journey, along
the years, in a conceptual and somewhat metaphysic quest, elapsing
from the artistic universe, as a result of his personal and intimate
universe, searching in alternate realities and places the fuel for his
art. Since his first manifest, the installation of “Black Scabbard Fish”, the transposition of the intimate and living universe of Trindade Vieira can be understood in his work. Ever since this experience on the installation field and beyond the reconfiguration of his insular reality into the painting, a process of conceptualization of the creative act has been undertaken, leading us to a more intimate domain of the perceptive space of the artist.
His construction came, at a certain point, to assimilate recognized images of the Renaissance and Baroque through the transfer of images to the canvas as a way of restructuring a supposed abstraction that guides our look to realities not recognized in the living context, especially those from the island.
The current speech of the Trindade Vieira, remains mainly on a creation laid in theorical and conceptual proposals, like the ones we have been exposing, whose production sets in the search of the existential roots of his livings. In fact, that is so easily verified, if we take into consideration the creative phases that the artist has shown since his very first installation to his most recent exhibitions, related essentially to Substance. This theme was the topic to four exhibitions: “A Magna Relação com a Matéria” (2000), “ Matéria e Sedução” (2001), “Memória Estética da Matéria” (2002) and finally “Matéria, Lugar de Inquietude” (2002). These exhibitions that dwell around a common theme give away exactly that search, as the artist moves toward his creative capabilities, sometimes in a phased form. In them he assays various possible frames, various manifestations of the subject through a personal observation. The way which is attributed to that creative, recreative and resizing
capabilities of life experiences is a constant in Trindade Vieira's
work, and although this journey has no defined course, it also has no
desire or intention to discern a goal. An art in constant change or, as Trindade Vieira says, “a work in progress” and maybe, in Picasso understanding, the unsearched discovery.
Matter and memory seem to compete in the same creative space, as the artist undertakes a constant search of what he calls speeching energies that interact with his life experience and creative capacity.
From which memory are we talking about? The insular path, the humas life experience – individual and in society, the island-space from which we establish sometimes a relationship of love and hate.
For sure, the art of Trindade Vieira stands for the recreation, in the plastic field, of his day by day experience of the real. It is from this procedure that the symbols, from which his painting is built on, are created. These symbols drift mainly from the banana tree, a plant very well known between the island residents.
As a result, the matter doesn’t mean, in the whole work a doubleness of the reality, doesn´t mean a game of evidences, but a overlap of visions, and we do affirm this, on the most comprehensive sense of the expression. The action of seeing and feeling through the artist's eyes becomes the
apotheosis of the visible, but above all a basic assumption of
transcendence – on one hand, the nature figures as an existing condition inseparable from the technique, as a generating centre of nature itself; on the other hand, the simple act of look isn’t enough, there is a need of questioning this action. His work takes on a truly down to earth dimension,
joined to the elements and to the natural manifestations through
matter.
Associated to all that has been said, the artist’s work hide an hedonic character, a game’s overlapped sense where the equilibrium between the physical and the emotional interacts. It is above all a stimulation of the feelings trough the pleasure of discovering.
Matter, memory, energy and discovery throughout game. These are the key words to comprehend the work of this artist that faces the act of painting as a cumulative action and not as a linear one. He understands the art sense as a space open to the subjective communication, then individual, but also inter-subjective, as a vehicle of passions experienced by him, and on his messages of uneasiness, surveillance or even serenity.
It is, thus, in the follow-up of the route that we have been defining this present exhibition of Trindade Vieira. However, something new is offered. If the individual path of the artist used to spin almost in exclusive around matter, on this fifth exhibition of this series, the matter is reoriented to a new sense of the evolution of the artist investigation. Following the recreational sense of the creation and of its implicit sense of discovery, Trindade Vieira proposes another tour to the affective side of the island, on a obvious return to the place of memory, the space of childhood. Maybe on a tentative of reorganizing the images filed on his memory by his senses, the speech is revealed under an aerial perspective form of the physical space of the island. The matter, the visual signs, the base-lines of the construction of this painting present, at this moment, a topographic map of the familiar space of the artist, confining land parcels, whose fields are overlapped on an evident allusion to his terrestrial experience.
Now, the browns, the sepias, the reds and the ochres, all reassemble to the primary idea of the banana tree reinforcing the symbolism of the paternalist image and of the return to the childhood distant, so far, in time. The remaining elements – the house roofs, the blue of the watering well, the contrast of the green fields with the red house roofs, present the evident image of the insular landscape.
In effect, Trindade Vieira operates, effectively, the several images, feelings and places that are, since always, in his innermost, not just on a sense of ordination and subsequent discovery, but also as a tentative of restructuring a memory that hazes with the time passing by.
What we have been exposing, can lead us on certain aspects to certain common places on the art universe, but the work of Trindade Vieira stands out, attending to the specificity of his language, from the remaining artistic production presented in Madeira. This detach comes from the actualization of the plastic language, of the theme newness and of the holders and materials investigation from which his work is presented, even inside the evident heritage with the traditional means, however, and on a more historical inclination, with a strong heritage of the post war movements, essentially north-american from the decades of 60/70 and 80, specifically on his gestures, spaces, conceptions and abstractions.
Even being committed with an traditional artistic expression, away from the most recent technologies and from the vanguard, Trindade Vieira presents a unique work, on its genesis. First of all, because the intimist and individual character of his work, but also because of an art that it recreates itself on the theoretical basis, reinventing continuously its code and its signs towards an horizon that we have no desire on having it defined or concrete.
Remains, so, the waiting for the continuity of his production and for the mutation of his appointments on his intimate universe, then transferred for the artistic space, the raw material for his individual expression.
“Listen is resist to the world uniformity, inscribing in the image, the density of a particular history, impossible to know in its total. (..) Seeing an image, can maybe start the disponibility of accepting, that the world doesn’t become more hyaline just because we recognize it trough the image. The image enlarges the hyaline, but also the blackness of the world. In a certain way, the image can blind – challenges the illusions of looking and values the listenig.”
João lopes
The individual path of the artist Trindade Vieira has met, along its
trajectory, a whole range of creations and circumstances that define
the understanding and life experiences of this artist not only on a
visible reality but also on a personal one.
Born in Madeira, Trindade Vieira has been undertaking a journey, along
the years, in a conceptual and somewhat metaphysic quest, elapsing
from the artistic universe, as a result of his personal and intimate
universe, searching in alternate realities and places the fuel for his
art. Since his first manifest, the installation of “Black Scabbard Fish”, the transposition of the intimate and living universe of Trindade Vieira can be understood in his work. Ever since this experience on the installation field and beyond the reconfiguration of his insular reality into the painting, a process of conceptualization of the creative act has been undertaken, leading us to a more intimate domain of the perceptive space of the artist.
His construction came, at a certain point, to assimilate recognized images of the Renaissance and Baroque through the transfer of images to the canvas as a way of restructuring a supposed abstraction that guides our look to realities not recognized in the living context, especially those from the island.
The current speech of the Trindade Vieira, remains mainly on a creation laid in theorical and conceptual proposals, like the ones we have been exposing, whose production sets in the search of the existential roots of his livings. In fact, that is so easily verified, if we take into consideration the creative phases that the artist has shown since his very first installation to his most recent exhibitions, related essentially to Substance. This theme was the topic to four exhibitions: “A Magna Relação com a Matéria” (2000), “ Matéria e Sedução” (2001), “Memória Estética da Matéria” (2002) and finally “Matéria, Lugar de Inquietude” (2002). These exhibitions that dwell around a common theme give away exactly that search, as the artist moves toward his creative capabilities, sometimes in a phased form. In them he assays various possible frames, various manifestations of the subject through a personal observation. The way which is attributed to that creative, recreative and resizing
capabilities of life experiences is a constant in Trindade Vieira's
work, and although this journey has no defined course, it also has no
desire or intention to discern a goal. An art in constant change or, as Trindade Vieira says, “a work in progress” and maybe, in Picasso understanding, the unsearched discovery.
Matter and memory seem to compete in the same creative space, as the artist undertakes a constant search of what he calls speeching energies that interact with his life experience and creative capacity.
From which memory are we talking about? The insular path, the humas life experience – individual and in society, the island-space from which we establish sometimes a relationship of love and hate.
For sure, the art of Trindade Vieira stands for the recreation, in the plastic field, of his day by day experience of the real. It is from this procedure that the symbols, from which his painting is built on, are created. These symbols drift mainly from the banana tree, a plant very well known between the island residents.
As a result, the matter doesn’t mean, in the whole work a doubleness of the reality, doesn´t mean a game of evidences, but a overlap of visions, and we do affirm this, on the most comprehensive sense of the expression. The action of seeing and feeling through the artist's eyes becomes the
apotheosis of the visible, but above all a basic assumption of
transcendence – on one hand, the nature figures as an existing condition inseparable from the technique, as a generating centre of nature itself; on the other hand, the simple act of look isn’t enough, there is a need of questioning this action. His work takes on a truly down to earth dimension,
joined to the elements and to the natural manifestations through
matter.
Associated to all that has been said, the artist’s work hide an hedonic character, a game’s overlapped sense where the equilibrium between the physical and the emotional interacts. It is above all a stimulation of the feelings trough the pleasure of discovering.
Matter, memory, energy and discovery throughout game. These are the key words to comprehend the work of this artist that faces the act of painting as a cumulative action and not as a linear one. He understands the art sense as a space open to the subjective communication, then individual, but also inter-subjective, as a vehicle of passions experienced by him, and on his messages of uneasiness, surveillance or even serenity.
It is, thus, in the follow-up of the route that we have been defining this present exhibition of Trindade Vieira. However, something new is offered. If the individual path of the artist used to spin almost in exclusive around matter, on this fifth exhibition of this series, the matter is reoriented to a new sense of the evolution of the artist investigation. Following the recreational sense of the creation and of its implicit sense of discovery, Trindade Vieira proposes another tour to the affective side of the island, on a obvious return to the place of memory, the space of childhood. Maybe on a tentative of reorganizing the images filed on his memory by his senses, the speech is revealed under an aerial perspective form of the physical space of the island. The matter, the visual signs, the base-lines of the construction of this painting present, at this moment, a topographic map of the familiar space of the artist, confining land parcels, whose fields are overlapped on an evident allusion to his terrestrial experience.
Now, the browns, the sepias, the reds and the ochres, all reassemble to the primary idea of the banana tree reinforcing the symbolism of the paternalist image and of the return to the childhood distant, so far, in time. The remaining elements – the house roofs, the blue of the watering well, the contrast of the green fields with the red house roofs, present the evident image of the insular landscape.
In effect, Trindade Vieira operates, effectively, the several images, feelings and places that are, since always, in his innermost, not just on a sense of ordination and subsequent discovery, but also as a tentative of restructuring a memory that hazes with the time passing by.
What we have been exposing, can lead us on certain aspects to certain common places on the art universe, but the work of Trindade Vieira stands out, attending to the specificity of his language, from the remaining artistic production presented in Madeira. This detach comes from the actualization of the plastic language, of the theme newness and of the holders and materials investigation from which his work is presented, even inside the evident heritage with the traditional means, however, and on a more historical inclination, with a strong heritage of the post war movements, essentially north-american from the decades of 60/70 and 80, specifically on his gestures, spaces, conceptions and abstractions.
Even being committed with an traditional artistic expression, away from the most recent technologies and from the vanguard, Trindade Vieira presents a unique work, on its genesis. First of all, because the intimist and individual character of his work, but also because of an art that it recreates itself on the theoretical basis, reinventing continuously its code and its signs towards an horizon that we have no desire on having it defined or concrete.
Remains, so, the waiting for the continuity of his production and for the mutation of his appointments on his intimate universe, then transferred for the artistic space, the raw material for his individual expression.
Sérgio Benedito
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