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Ensaio para dançar #2
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Ensaio para dançar #2 Painting

Mauricio Mallet

Brazil

Painting, Acrylic on Paper

Size: 19.7 W x 27.6 H x 0.4 D in

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About The Artwork

The lack of memory, the lost fragments of history, the record of the past of the individual who has been deleted. The memory takes over, the past, the present and the future protrude into something forgotten. In the future it would be just an empty built with memory or failing that, it creates gaps in mind and do not know what its real meaning. You have to know forget to savor the taste of this, the moment and waiting. You have to forget the recent past to retrieve the remote past said Marc Augé. While Freud did of this a relationship with a child. I think in the beginning and end childhood, old age, there is forgetfulness of this at the expense of the past. No matter the language, but the record built for the perpetuation of imaginable and erased space / time are mixed with history, which is often the collective rather than the individual. Space emptiness ... a trial of deposed's left in me.

Details & Dimensions

Painting:Acrylic on Paper

Original:One-of-a-kind Artwork

Size:19.7 W x 27.6 H x 0.4 D in

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

He was born in 1975, Mauricio Mallet is a brazilian visual artist working also as a graphic designer, illustrator and art director. As an art enthusiast since early age he has focused his education in several forms of art expression being graduated in Fine and Visual Arts by important schools in Brazil. In addition to his creative performance also he teaches Fine Arts at Panamericana School of Art and Design and Digital Art at Alpha Channel School, two of the most significant art education institutions at São Paulo, Brazil. He uses specially oil and acrylic on paper, paper board, canvas... at his work, he creates abstract figures outlined by a single, dominant color. Grouped together pursuing a shared goal or as a standalone his subjects are joined in a form of ghostly camaraderie, gathered at the top of a slide or embracing as they walk. He gives their proximity to one another, the ease with which they coexist, and the playground accouterment, these children appear to be adolescents, not yet at the awkward stage of teenage discomfort, gender awareness, repulsion, and desire. They exist freely, without pretense, in the company of others. The paintings are a reminder of a shared past and barriers built up seemingly overnight. Often leaving a border around his work, he reminds his viewers that art is a construct, a manner 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 for 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 a painting of a pipe has to do with the pipe itself. Or maybe, the image was the truth and the analysis is the self-deception.

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