Study for "The man of the future" Collage

Rey Vinas is a Brazilian visual artist, editor and writer. Born in Belém, capital of the State of Pará, on February 10, 1963. He has published 19 books, three of them (poems), awarded. He was a professor of Portuguese at the Federal University of Pará and of Literature Theory at the so-called Centro Universitário de Brasília (CEUB), located in the country's capital. In the 1980s, he worked as a reporter and editor for the newspapers "O Liberal" and "Diário do Pará", both widely circulated in the Brazilian Amazon. He was also editor of a literary section – "Primeira Página" – and of a culture and tourism magazine – "Ver-o-Pará". After 30 years of inactivity, he returned to drawing and painting in November 2019, after suffering two successive heart attacks. His new works were produced from that date onwards and to date total more than 700 pieces. Before living in the city of Natal, in Northeast Brazil, he resided in the capital of Brazil for 23 years, acting as writer and coordinator of the publication editing sector of the Superior Electoral Court. Rey Vinas's current work is influenced by artists such as Pablo Picasso, George condo, Paul Klee, Kooning Willem, Joan Mitchell, Lee Krasner and Jean-Michel Basquiat, as well as Franz Kline and Pierre Soulages. The main feature of the artist is experimentation with various techniques and different supports, from the linen or cotton screen to the pleated paper; From the serapilheira to the plywood; from recycled fiber to ceramic. It also uses various materials, such as oil paint, acrylic, gouache, watercolor, nankin and egg seasoning. “Most of my brackets, besides the screen, is saturated material. They are papers, fabrics and woods that suffered the action of time, corrupted, discarded, sometimes considered useless. This material (packaging, cards, high strength cardboard, plastics, ceramics, etc.) carries, I believe, the vital energy of the things they have suffered. Once they collected them, I apply waterproofing bases, masses, varnishes and fungicides that make them again usable, protected and durable, but with the special characteristic of 'saturation', which produces unpredictable aesthetic effects. And they are quite sustainable. My themes are aesthetic and critical of existential, social and economic situations.