Add to Favorites
Printmaking: Wood on Plastic.
In Territorial one deals with the simultaneous confrontation and conjugation of a duplicity of circumscribed geographies and distinct temporalities: the first is in the reality of the human industry and, second, in the action of the elements, in the nature understood as power acting on the objects of the first. The set of works presented by Gabriel and Gilberto Colaço seem to refer to a dynamic and circular relationship in which man builds on nature and nature acts on human construction.
In this relation, insulae are evidenced, under the medium of painting, punctually punctuated by the portrayal of a tragic event that is announced through urban iconography - fragmental scenarios of destruction and abandonment are given by the static representation of scrap, car wreckage and of a roller coaster, of the ruins of a house or of a shelter - to which the serene permanence of the beings of nature is contrasted with reflection, another landscape of a certain placidity. These alignments are thus consolidated by the adjective of antinomies, the mediation between a positive and a negative are not always established by a clear hierarchical distinction, and whose execution expresses the copious minutia and technical dexterity of a pictorial language that takes as its legacy the aesthetics of pop art.
The narrative unfolds around these structures and objects by which, in times, they transcended the totality of human activities - from work to idleness - enclosing in itself the memory of a prosperous and life-filled past. Now, they await in eternal abandonment the reconquest of nature - that it takes them for themselves, that will deteriorate them to the point of their total annulment ... Facing Alignment 9 and Alignment 8 (examples like any and every painting in Territorial presented), the thought rushes to the imaginary of catastrophe and post-catastrophe, to exclusion zone or inoperative, where everything has been left to succumb to the sublime decline that only time can bring.
Another archipelago formed by small and delicate constructions is still proposed by Gabriel and Gilberto: tiny rooms, refuges and passageways are constituted in the form of the square implying in itself a spatial fixation so characteristic to the structuring and edification of the human spaces. The delimitation of a synthetic quadrangular territory, which in its interior restricts a fraction of nature, opens doors to the uncertainty of being allusion to a fabricated introduction that manifests itself in the conception of garden, or if, on the other hand, it treats the peaceful invasion of nature into the human space that an outside and distant spectator watches. The interior illumination of some of these pieces, of which Construction 1 is an example, also refers to the paradox of a human presence in an alienated dwelling. It is therefore a singular excursion on apparent opposites, on the hybridization of domains, and on the assertion of transient transitoriness of human industry and the natural world.
Andreia César, 2016
Size: 5.9 W x 4.7 H x 5.1 in
Artist featured in a collection
Artist featured by Saatchi Art in a collection