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Ensaio para recreação Drawing

Mauricio Mallet

Brazil

Drawing, Graphite on Paper

Size: 16.5 W x 11.8 H x 0.4 D in

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$1,380USD

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About The Artwork

The failing of memory, the lost fragments of history, the record, the past of the individual who was deleted. The reminiscence takes over, the past, the present and the future project into something forgotten. In the future it would be just an empty built with memory or its fail, gaps are created in mind and do not know its real meaning. You have to know forget to savor the taste of the present, the moment and waiting. It's needed forget the recent past to retrieve the remote past said Marc Augé as Freud defended a relationship with a child. I think at the beginning, childhood, and in the end, old age, that there is forgetfulness of the present at the detriment of the past. No matter the speech, but the record built for the perpetuation of imaginable and deletion of the space / time which blend with the story, which is often the collective and not the individual. Space emptiness ... a trial of deposed's left in me.

Details & Dimensions

Multi-paneled Drawing:Graphite on Paper

Original:One-of-a-kind Artwork

Size:16.5 W x 11.8 H x 0.4 D in

Number of Panels:2

Shipping & Returns

Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

Born in 1975, Mauricio Mallet is a Brazilian visual artist who also works as a graphic designer, illustrator and art director. An arts enthusiast from an early age, he focused his training on various forms of artistic expression, having graduated in Fine and Visual Arts from important schools in Brazil. In addition to his professional work, he also teaches Fine Arts at the Escola Panamericana de Arte e Design, one of the most important artistic education institutions in São Paulo, Brazil. He mainly uses oil and acrylic on paper, cardboard, canvas... in his work he creates abstract figures outlined in a single, dominant color. Grouped together in pursuit of a common goal or isolated, his subjects come together in a form of ghostly camaraderie, gathered at the top of a slide or hugging each other as they walk. Given the proximity to each other, the ease with which they coexist and the playground equipment, these children look like teenagers, not yet in the awkward phase of adolescent discomfort, gender awareness, repulsion and desire. They exist freely, without pretense, in the company of other people. The paintings are a reminder of a shared past and barriers built seemingly overnight. Often leaving a boundary around his work, he reminds his viewers that art is a construction, a form of control that seems at odds with the content of his work. Perhaps the freedom of an idyllic childhood, the ability to love and care without question, is a myth, an illusory past invented by a self-deceiving public in search of a better self. Perhaps memory is as treacherous as Magritte's pipe, an unreality that has as little to do with the past as the painting of a pipe has to do with the pipe itself. Or perhaps the image was the truth and the analysis was self-deception.

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