Daniel Mattar (Brazil, 1971)
Fernando de La Rocque (Brazil, 1979)
Mait-Britt Wolthers (Denmark, 1962)
Niura Bellavinha (Brazil, 1960)
"I already tried to have the sky painted in shades of blue, to be original
Only then did I notice that he is blue, there was someone who had the same idea. "
O Anzol (1987), Radio Macau
Brisa Galeria - Lisboa, in collaboration with espace_L - Geneva, opens the collective exhibition entitled Blue Imprecision with Artists: Daniel Mattar (Brazil, 1971); Fernando de La Rocque (Brazil, 1979); Mait-Britt Wolthers (Denmark, 1962); and Niura Bellavinha (Brazil, 1960).
The curatorial project develops from the broad idea of the color blue, its chromatic and conceptual relations and, consequently, its imprecise definition. When inquiring the veracity of the shades of blue that the artists present, we will try to redefine the way a certain tone is seen and how this vision reflects an artistic intentionality.
Blue is one of the three primary colors (together with magenta and yellow) that can be defined into two distinct categories, according to their psychological and physical characteristics, respectively.
In the first psychological category, blue is often associated with coldness, meditation, monotony, depression, tranquility, and peace.
Several times, this cold color relates to a sense of inner tranquilization, perhaps associated with the immensity of the blue color of the sky and the sea.
In the second physical characteristic, blue is defined with a wavelength in the range of 455 to 492 nanometers of the visible color spectrum and has a frequency between ~ 680-610 THz.
To be aware that physical characteristics are at the level of perception and visible light and not a characteristic exclusively inherent to the objects that receive this light, that is, the color that the objects reflect is more a property of the source light and less of the objects appropriated. to become visible.
In this sense, it can be said that the psychological category of the color blue can be changeable and deluded, depending on the changes that light affects the objects presented. This imprecision effect is perhaps one of the most subtle tools of art as a discipline that discusses the visibility of the things around us.
Thus, blue may just be an impression that impresses in different ways and shapes.
Daniel Mattar's photographs imply literally the image of the color blue as changing matter, which through various light sources changes his mood and sensitivity. The photographic experiences that the artist conducts turn out to be a kind of showcase of emotions and feelings.
Fernando de La Rocque's ceramic works, through chiaroscuro effects, play with the perception of the image and the figures that emerge from it. The drawings interlace in strange shapes reveal a world of creative possibilities through the constitution of a tile pattern.
Mait-Britt Wolthers' paintings seek a visual balance in a work of relationship between form and color. Blues are punctuated with small notes of other colors (reds, yellows and whites) in which everyday objects are recognized.
Niura Bellavinha's abstract paintings refer to a research between natural materials, such as water and earth, and how they can express conceptual thinking. The intoxicating pictorial surfaces refer to an aerial and sensitive idea.
Simply put, it can be said that the sky is blue, because the atmosphere usually composed of various elements, such as water and oxygen, reflects the blue spectrum of the rays of light that pass through it.
Of course if the atmosphere has a different composition the shade of blue will also be different.
However, at night the sky is not blue, not because the atmosphere is different, but because the light does not exist. Considering that color is imprecise, even in what is taken for granted as the sky and the sea, one may think that art is one more way of revealing the invisibility of things and beings, that is, a form of show what is submerged in the depths of visible and palpable reality.
Daniel Mattar (Brazil, 1971)