quarta-feira, abril 20, 2016

Pictoriality as a Fundamental Way of Perceiving Reality: "Amadeo de Sousa-Cardozo" at the Grand Palais, Paris

"Odd Even 1 2 1", c. 1916
Private Collection

The bounds of space are not really dissolved.

They continue to exist and we also continue to recognize them. But where Sousa-Cardozo spreads to encompass different elements, the linguistic identity of the elements is questioned, or this linguistically identified connection is linked with its alternative. 

I see a window, I see a copying on a wall, and at the same time I see a shade of blue that links the two...to which I say it's a blue shade, without making any more distinction between the window and copying. I regard all of these alternating possibilities as equally valid. It's important to me, in a painting, that two incompatible systems mutually engage. I believe this painting's physicality is the starting point at "understanding" it, and by moving into its spatial volumes there's a guarantee that everything is rooted in negotiable reality. It's then transformed in my mind, which results in the image value. I can only first "develop" the image by leaving this physicality. 

The painting has quietened down; the strokes are almost vertical and executed side by side, all in the same width. My mind rests.

If you're in Paris, go visit one hundred and fifty works by Amadeo, one of the greatest Modernist Portuguese Painters, at the Grand Palais.

NB: Picture taken by me at Fundação Calouste Gulbenkian in December 2015 in Lisbon.

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