the time of the paint​

[...] In 1989 [...] I presented a large group of drawings on various types of paper and in different sizes. Those drawings were composed of horizontal, usually serial lines, the brushstrokes of which were rendered in China ink or some other type of equally fluid paint. I used to say of those lines that they captured the time of the paint, thinning out at the end of each stroke. It was as if the paint's duration on the brush determined the size of the line. [...] All of them were made with the paper spread on the floor. Somehow, I needed to be immersed in them. [...]

duas matérias​

[...] Meus trabalhos até então eram feitos sempre a partir da mesma massa de tinta que, revolvida e organizada através de poucas operações, produziu variações infinitas durante quase vinte anos.

A partir mais ou menos de 2014, o uso da tinta preta como vinha fazendo desde 1997, já  bastante consolidado e dominado, me levou a me arriscar em nova aventura. Após um período de experimentação, acabei chegando a pinturas com dois tipos de matéria, uma com a tinta densa e texturada como fazia antes, outra com uma segunda cor, diluída.

the weight of the body​

[...] By the end of that year [1991] 

I had begun to move in a new direction: I was making drawings with sinuous lines that measured roughly 150 x 200 cm, once again using my body as a parameter. Later, I described those lines as having the weight of the body, for I would lean over paper that was spread out upon the floor and force my weight onto it in order to draw with paint that had the consistency of gouache – a mixture of glue and pigment. Therefore, the parts tha remained white were the place within I had positioned myself in order to draw. Nothing was premeditated. I wanted intention to coincide with action; decisions were made at the very moment 

of drawing. And this required great concentration. [...]

sobre a parede​

O caráter expansivo do meu trabalho tem me levado em diferentes momentos a atuar diretamente sobre as paredes de um determinado espaço, com isso ativando o próprio espaço. Neles, o esforço corporal é o principal agente.

the substance of the paint 

[...] In 1997, tempted to explore the canvas support in a way that was still linked to drawing, I began to create works that were composed of sinuous lines of oil paint drawn with a broom in configurations redolent of the drawings that had immediately preceded them, leaving the white background of the canvas apparent. In these I also spread the support out upon the floor, although I did not stand directly on top of it; I had to have the canvases streched out on frames so as not to lose sight of their boundaries. I used to say that their lines, drawn in oil paint, came to express the very substance of the paint for, unlike white paper, the canvas support damanded a stronger, more material line. [...]

© 2021 CÉLIA EUVALDO | São Paulo