The new exhibition at Brisa Galeria brings together artists who, at different moments in the gallery’s trajectory, have contributed to shaping a sensitive cartography of the world. What unites them is an attention to matter itself, whether pigment, forest, light, pixel or residue, as a way of developing singular approaches to landscape, time and transformation.
In the first room, works by Daniel Mattar, Irmãs Gelli, Nelson Porto and Patricia Goùvea create a path shaped by natural elements. There is a constant oscillation between earth, water and sky. In Mattar’s pigments, which establish almost sculptural presences. In the grids by Irmãs Gelli, where fragments of plastic become color and relief. In Nelson Porto’s liquid surfaces, which turn water into luminous vibration. And in Patricia Goùvea’s layered photographs, where multiple temporalities overlap to form an image of pictorial density. These are works that invite the gaze to travel through matter until it discovers, within it, what exceeds the image itself.
The second room is dedicated to the series Pictorial Journey through Brazil, by Cássio Vasconcellos, a deep dive into the Atlantic Forest that brings back, on a large scale, the imaginary of Brazilian landscapes. His images, with an almost painterly density, resonate directly with the deep greens of Daniel Mattar’s pigments, a dialogue shaped not only by color but also by the gesture that turns raw matter into presence.
Elsewhere in the exhibition, Mattar’s tridimensional droplets of pigment encounter the recent work of Milton Montenegro, who challenges photographic imagery through pixel manipulation and operations involving artificial intelligence. Between the organic nature of the pictorial gesture and the mathematical logic of digital decomposition, a hybrid territory emerges where the visible is constantly reconfigured.
By bringing together artists so distinct yet connected by shared questions, Brisa Galeria reaffirms its vocation for creating encounters between times, practices, geographies and ways of seeing. This retrospective extends an ongoing research that continues to unfold around landscape, matter and the possibilities of contemporary image-making.
