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Epaminonda, Haris
Untitled #482, 2008- Polaroid. Unique print
- 10.3 x 10.2 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 2013
- 'Untitled #482', depicting one of the pyramids in Egypt, is part of a series of photographs begun by Haris Epaminonda in 2008 using an instant Polaroid camera. The series consists of re-photographed images appropriated from old travel albums, nature magazines, second-hand books, TV documentaries, mostly dated from the 1930s to the 1960s. The mysterious quality of the images is enhanced by Epaminonda’s choice of an outdated photographic support. Polaroid film was discontinued the very same year the series was started; the project was brought to a premature end when the last reserves of the original film expired. Epaminonda’s work is far from nostalgic. For its questioning of the ways personal and collective memories are built and knowledge is structured, it is firmly anchored in the present.
Escada, José
José Escada (Lisboa, Portugal, 1939 - Lisboa, Portugal, 1980)Recortes em relevo, 1968- Relief Cut-outs, 1968
- Paper cut-outs mounted on paper
- 31.5 x 48.5 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 2000
- The biomorphic silhouettes of 'Recortes em relevo' [Relief Cut-outs] appear for the first time in José Escada’s oeuvre in drawings and paintings from 1960. From then on they are subject to a gradual simplification in their outlines and colours and a three-dimensional exploration that gives them an objectual condition. The folding of the paper gives the cut-out silhouettes a corporeal density. Although leaning towards abstraction, this series clearly suggests bone structures and animals whose limbs resemble those of humans, as in the case of the frog and the fly that insinuate themselves in these cut-outs. Each of these figures divides into two other, rather different, forms, instilling doubt in the viewer's mind as to what s/he is seeing. With their simple outlines and the symmetry created by folding the paper, they are reminiscent of animal vivisections as well as Rorschach tests, the renowned psychological evaluation technique that interprets inkblots.José Escada produced a singular oeuvre that lies between figuration and abstraction, and explores fundamental questions of painting as light, colour or the organicity of forms, as well as painting’s metaphysical and spiritual potentialities.
José Escada (Lisboa, Portugal, 1939 - Lisboa, Portugal, 1980)Recortes em relevo, 1968- Relief Cut-outs, 1968
- Paper cut-outs mounted on paper
- 31.5 x 48.5 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 2000
- The biomorphic silhouettes of 'Recortes em relevo' [Relief Cut-outs] appear for the first time in José Escada’s oeuvre in drawings and paintings from 1960. From then on they are subject to a gradual simplification in their outlines and colours and a three-dimensional exploration that gives them an objectual condition. The folding of the paper gives the cut-out silhouettes a corporeal density. Although leaning towards abstraction, this series clearly suggests bone structures and animals whose limbs resemble those of humans, as in the case of the frog and the fly that insinuate themselves in these cut-outs. Each of these figures divides into two other, rather different, forms, instilling doubt in the viewer's mind as to what s/he is seeing. With their simple outlines and the symmetry created by folding the paper, they are reminiscent of animal vivisections as well as Rorschach tests, the renowned psychological evaluation technique that interprets inkblots.José Escada produced a singular oeuvre that lies between figuration and abstraction, and explores fundamental questions of painting as light, colour or the organicity of forms, as well as painting’s metaphysical and spiritual potentialities.
José Escada (Lisboa, Portugal, 1939 - Lisboa, Portugal, 1980)Eu e os meus cães, 1980- Me and my dogs, 1980
- Acrylic paint and collage on canvas
- 70 x 100.4 cm
- Coll. Portuguese State Secretariat of Culture, long-term loan to Fundação de Serralves - Museu de Arte Contemporânea, Porto. Deposit 1990
- 'Eu e os meus cães' is an example of José Escada’s figurative period, in the 1970s, that was primarily autobiographical. In this context, the self-portrait gains a key dimension through representations of his beloved dogs, previous works that synthesise his abstract period, or by his proximity with Lourdes Castro and her influence on his work, visible in the shadows projected in the foreground. A testimony to Escada’s inner world, this painting acquires poetic and tragic relevance as one of the artist’s final works, produced in the year of his untimely death.José Escada produced a singular oeuvre that lies between figuration and abstraction, and explores fundamental questions of painting as light, colour or the organicity of forms, as well as painting’s metaphysical and spiritual potentialities.
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