Satyrs and Nymphs (2016) Painting

The Aesthetic Multiplicity of João Werner: Between Empathy, Metaphysics, and Provocation João Werner’s artistic trajectory unfolds as a vast and contrasting panorama of languages, techniques, and themes that defy any rigid categorization. Over more than 30 years of production, his work reveals not only a technical evolution but also a conceptual restlessness, moving between seemingly opposing fields: empathy and provocation, mythology and raw reality, technical rigor and formal detachment. This diversity unfolds in three major axes, each reflecting a distinct state of imagination: - "The Empathic Phase", which captures the human drama in its emotional complexity, exploring suffering, poverty, and the hardships of life, whether in urban or rural settings. Here, a genuine sense of commotion translates into form and gesture, evoking scenes of strong visual and narrative impact. - "The Metaphysical Phase", which delves into mythologies and symbols drawn from sources such as the Hindu Puranas and the works of Carlos Castaneda. These creations transport the viewer into an esoteric universe, where archetypes and symbolic images construct narratives that transcend immediate realism. - "The Controversial Phase", the most provocative and deliberately subversive, marked by a spirit of "épater la bourgeoisie". Sex, violence, addictions, and political demonstrations emerge as central themes—not merely to shock but to expose a conscious disdain for consumer culture and the moral complacency of the contemporary world. If there is anything that unifies this body of work, it is its reluctance to conform to external expectations. Werner is an artist who masters drawing, composition, and technique, yet at times chooses to subvert these skills in favor of a more visceral impact. His path moves from wood carving to cement sculpture, from oil on canvas to digital possibilities, without hierarchy between traditional and contemporary media. Since 2006, his venture into digital art has expanded his expressiveness, and the aesthetic experience of his digital paintings retains a pictorial resonance, challenging prejudices against the virtual nature of the image. Although his works may initially seem disparate or even antagonistic, there is an essential thread connecting them: "moved imagination." His work is not social critique in a pamphleteering sense but arises from a keen observation of human drama, permeated by irony and introspection.