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PAUL WHITAKER (Brazil)
Sin título
Graphite on paper, 21 x 30 cms., 1997
Fireworks: Possibly on Paul Whitaker
Rafael Vogt Maia Rosa
1. In one of the last images of Movie1 after the avalanche of information in the scenes set off by tiny plot, as if each frame were able to have their own narrative, one sees through the windshield of the car, rainy night dyed the colors and shapes of urban elements that permeates moving lights, shapes, other cars, some constructions virtually indistinguishable from the environment.
But this lyric in which the collective view from someone who sees things as vague is extinguished when the wiper passes, often mechanical, and literally drag the image we were trying to capture, dissolving it completely. The water that the scene outside the prism do differently as it spreads across the glass surface creating a bundle of microscopic grooves.
1.2. The automatic and repetitive motion, the way those events that occur on any screen, introduces a metalinguistic speech - the movie screen and windshield of the car are also plans - while playing with our emotion current hostage to the dynamics of an immediate and astonishing visual reality that can no longer trust.
There is no time to feel from what you see and depth that is beginning to meet a romantic daydream is denied when the area reverts to transparency in strange opacity.
2. A painting by Paul Whitaker singles that moment when one thing becomes another. Even if the action on the plan and give it to a painter is a repetition with which it coexists with itself as the force of gravity, to see your recent work is that the observer can find a further reality which has already passed be something else there, just. The clues are in dynamic ways, drawn, overlapping the bottom below.
2.1. These paintings show, like the aforementioned image, external signs. But they are really abstract, mutilated, without any sense other than that visible on your physical media. They are also signs arranged in a space that, at least initially, thong, before the metalinguistic discourse, a created reality "generation of memory" 2. Her eyes are forced to understand that much of what becomes a "narrative" on the screen is separated by this result and operations that, in contrast, this repetition of elements, which remained unshaken as a condition, introjected brings a minimum of subversion because it is not only awareness, but also through creation. Thus, maintaining a sense of instant and remaining static in our retina by virtue of an arm, a hand, this imagery encourages both things seen and unseen.
3. Speculation about what froze the meantime, alongside the notion that it is a contemporary painting of, all its non-narrative past is, unlike, unlimited:
3.1. the city where you live, different amplitudes Coastal monumental adorning other Brazilian regions, has such a density that prevents that has always called its inhabitants see the horizon, there is an excessive technical information that marks the artist's mind with an inevitable confrontation with the resources and solutions already achieved without enjoying the impetus for destroying them when they're too involved, the same idea of \u200b\u200b"prepared piano" 3, this instrument canonical, to express new frequencies, is changed with very limited mechanisms for their own constitution - screws, rubber, nuts ...
3.2. The views from Canadians in this country that identity is lost in the alien landing strip, are the backdrop for existential drama in two stages:
"What you saw there?
" I saw an outdoor concert. The pianist could not continue because his hands froze and all the music first came down to a trend that disappeared even faster than expected, the presence of a strong wind. "
3.3. Brown's plan, consistency is more homogeneous, the cross hairs of Lichtenstein coalescing as a TV whose picture is altered by the presence of a magnet, the epidermis in a vibration Soulages, in alignment Morandian as if, in cases where these elements are black, they were wicked cuts from Fontana. Otherwise forced to return to Brazil, the best of national art, Concrete and alcoholic, a text for anyone to read.
3.4. Ilha de Santa Catarina, whose population center has its foundation associated with the construction of a chapel in 1678, was increased at first with military fortifications. Much later, in 1894, the city had its name changed to Florianopolis. The bridge Hercílio Light, who coined a visual contrast to the permanent nature of the region, is temporarily disabled. But it can be seen from far away, especially at night, right outside continental.
4. Now, not quote from other painters or the existence of these paintings in his own ordinance, "the chemistry and physics, 4" is staggering. As the life of the athlete who complete their household budget belts electrical weight-loss selling in a local mall.
1.Jean-Luc Godard's Eloge de l'amour, 2001.
2.Paulo Whitaker, May 1999, São Paulo, Triangle House, 1999.
3.Whitaker, op. cit., see also, John Cage, Sonatas and Interludes for prepared piano, 1946-48.
4.Whitaker, op. cit.
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