Page 1

maria villares portfolio

english version Sao Paulo, SP - Brazil



works on paper


watercolors drawings prints monotypes

6 8 21 26



artist´s book


photo album


biography Born and raised in São Paulo, Brazil (1940), studied drawing and painting from 1954 to 1958. During the decades of 1970 to 2000, attended various courses in Sao Paulo and abroad on lithography, etching, drawing, painting and ceramics. In 1987 went to a drawing and sculpture course in Centro D´Arte Verrochio in Casole D´Elsa, Italy. In 1998, London Print Studio, UK. Her work has been exhibited in Brazil, North America, Mexico, Argentina, Venezuela, France, Canada and Germany. Apart from the individual exhibitions, Maria presents work in a number of collections including Pinacoteca de Sao Paulo (SP, Brazil), Museum of Latin American Art - MOLLA (California, EUA), Itau Cultural Center (SP, Brazil), Modern Art Museum - MAM (SP, Brazil), Mario de Andrade Municipal Library (SP, Brazil), Afro-Brazilian Museum (SP, Brazil), Contemorary Art Museum (PR, Brazil), Art Center CBK Zuidoost (Amsterdam, NL), among others.

began to study art when a teenager, it was not until her adulthood that she saw herself as an artist. It was only in the 1980´s that she began to paint. Ten years working with utilitarian ceramics provided her discipline and technical knowledge. When she abandoned the pottery wheel, her aim shifted from precise form to aesthetic experimentation and the search to express an existential uneasiness and was wise enough to resist the appeals of easy fads, dedicating herself to work in the silence of her studio. The perseverance with which she sought to conjugate her life and work ultimately resulted in a multifaceted production that has drawing as its common denominator… 1 1 MILLIET, Maria Alice. Extract from exhibition catalogue Maria Villares: Painting, Monotypes and Objects – Berenice Arvani Gallery,

São Paulo SP - 2008

works on paper Works on paper are part of my studio routine when selecting I tried to pass onto paper what moves me and becomes important at that moment, whether they are various visual stimuli, subtle perceptions or observation drawings. I feel this everyday doing as a pleasurable and necessary exercise that accompanies the production of paintings on canvas, engravings and objetcts. Maria Villares junho 2009


watercolor on Canson paper, 2011 / 57 x 77 cm

watercolor on Canson paper, 2011 / 57 x 77 cm

watercolor and guache on paper, 2008 32 x 25 cm

watercolor and guache on paper, 2008 32 x 25 cm

watercolor, nankeen and guache on paper, 2011 50 x 57 cm


acrylic paint and charcoal on paper, 2001 150 x 100 cm

watercolor on paper, 2000 23 x 31 cm

charcoal on paper, 2009 77 x 57 cm

mixed media on paper, 2009 77 x 57 cm


“Beyond the apple� series. graphite and oily chalk on tracing paper, 1998 / 46 x 62 cm

“Beyond the apple� series. graphite and oily chalk on tracing paper, 1998 / 46 x 62 cm


“Nexus” Serie, oily chalk on Fabriano paper, 2008 / 45 x 65 cm

“Nexus” Serie, print of carbon paper on Daishou paper, 2006 / 62 x 88 cm


“Nexus” Serie acrylic and oil paint on paper, 2003 69 x 43 cm

“Nexus” series, tar and oil on rice paper, 2003 / 47 x 66 cm

“Nexus” Serie, paint on Fabriano paper, 2002 / 57 x 76 cm


“Nexus” Serie, china ink on paper, 2002 / 70 x 100 cm

These last six drawings make part of the serie Nexus, as the next two objects and three engravings.

MARIA’S NEXUS “...The ancient and eternal feminine gesture of weaving and involving, needles and recurring movement of the hands have constructed, with plastic threads, fabrics that are not intended to be worn. When the work grew, its weight upon her womb brought her to tears. A meaning was born. She has lived the interior of this process aiming on the rhythmic cadence of waiting. It was not by chance that Maria gave this series the name of Nexus and the genealogy of the term is revealing. In Latin, nexus means knot, bow. From there, bond, link, union. The set of knots construct the weave, which resulted in scarce and lonely structures, of imperfect construction, that exhibit all accidents of manufacturing. Half knitting, half web, its hollow bodies cast shadows in space, and these projections are like movable lines. It seems almost natural that the threads would follow the path to the Ink strokes rewrite the plot of these silent agonies, with restrained drama, and the comes and goes of the knots produce a kind of a mirrored writing. The apparent scribbles of the drawings stretch the threads; create whirlpools, open spaces for light. In engraving, positive and negative are mirrored again, unfolding its images. And in these expanded sequences, fabric and the process. And it is worth remembering Aristotle when one stated that the handicrafts complete what nature has not yet concluded...” Vera D’Horta

julho 2006


“Nexus” Serie, pvc, acrylic and china ink on paper, 2006 / 230 x 170 cm

“Nexus” Serie, polypropylene and pvc, 2008 / 110 x 20 cm

( DETAIL ) carbon paper print on Daishou paper, 2006 / 62 x 88 cm


“Nexus” Serie, engraving - drypoint on paper, 2005 / 39 x 59 cm


“Nexus” Serie, engraving - drypoint on paper, 2009 / 40 x 59 cm

“Nexus” Serie, engraving - drypoint on paper, 2009 / 40 x 59 cm


“Vegetal Complicity� (Cumplicidade vegetal) , litograph on paper, 1998 / 30 x 24 cm

“ Through the Night” (Noite à dentro), litograph on paper, 1988 / 28 x 33 cm

“Fertility” (Fertilidade), litograph on paper, 1988 ; 38 x 29 cm


“...These prints represent a production Maria has carried out parallel to her painting, including metal engraving and the most modern works in small format...” Maria Alice Milliet summer of 2008

MILLIET, Maria Alice. Extract from exhibition catalogue Maria Villares: Painting, Monotypes and Objects – Berenice Arvani Gallery, São Paulo SP - 2008

monotype on paper, 2001 / 30 x 20 cm

“Adapt your vision� (Acostuma teus olhos), monotype on rice paper, 2011 / 25 x 32 cm


monotype on paper, 2001 / 15 x 20 cm

“Nightly rut” (Cio noturno), monotype on rice paper, 2011 / 31 x 37 cm

paintings “...The lines, the outlines, and the forms described can be derived from observation or from memory. At times she departs from a previous register although never constrainig the gesture, always free from conventions and subjected to the impulse of the moment. Her painting always harbors something of the graphic. An exceptional colorist, Maria’s painting is viscerally pictorial, with a lyricism shot through by a nervous, incisive graphism unconcealable passion with which she works. This explains why Maria’s painting is still disturbing. (...)” Maria Alice Milliet summer of 2008 MILLIET, Maria Alice. Extract from exhibition catalogue Maria Villares: Painting, Monotypes and Objects – Berenice Arvani Gallery, São Paulo SP - 2008

acrylic and charcoal on canvas, 2002 / 100 x 80 cm

acrylic on canvas, 2005 / 130 x 150 cm


“Thinking being� (Ser pensante), acrylic on canvas, 2005 / 85 x 142 cm

/ 142 x 175 cm


“Tree” (Árvore), tempera and collage on paper on canvas, 2012 / 162 x 114 cm

“Vertical presence” (Presença vertical), oil on canvas, 2012 / 150 x 80 cm

“Two periods” (Dois tempos), tempera on canvas, 2012 / 91 x 130 cm


/ 72 x 122 cm

“Gynaeceum� (Gineceu), tempera and collage on Saunders Waterford paper on canvas, 2011 / 150 x 193 cm


“Fenix II”, oil on canvas, 2005 / 165 x 150 cm

“I think, therefore I exist”, acrilic, oil and collage on canvas, 2005 / 150 x 70 cm

“Voracious Yellow”, acrilic on canvas, 2007/ 130 x 150 cm

artist’s book INTIMATE AGREEMENT BETWEEN PARTS ... The speck ought to be always an agglomerate that equals to the remains. That equals to the remains in order to obtain the poets’ contemplation... 1

Fragments of discarded etchings, drawings, several papers randomly arranged upon the great table. In the coming and going of the studio, an absent gaze, a glimpse of possibilities...from the parts to the whole. Collages The decision to publish it came years later. During the editing I chose 60 pages to compose this quasi “fac-simile”, for its characteristics were maintained, size and cover. Time and Gestures

... The big drawer wide open for us, Treasures Small nothings. All those scraps of paper collected images. Her scribblings, her sketches. “A bit of the drawing I liked most.” So many! Years. And do not all these things add up through the years?... 2

de Janeiro. São Paulo - pg. 11. Tradução livre. 2. DELGADO, Margot – “O tempo e os gestos que se dão.” – Introito do Acordo íntimo entre as partes – 2007.

photo album WATER IS LIFE “The creation of life happened because earth contained which preserve it.” Richard Fortey

In November 2007 I went to the Amazon; I had intimate contact with that exuberant nature and abundance of WATER when sailing the rivers Negro, Solimões and Tapajós. Intensely involved with such beauty, I’d registered some details in small drawings and photographs while our boat sliced through the waters or when we walked by streams and lakes. Thus I initiated my project “Water is Life”, that gradually began taking shape. After several plunges in poetical waters, I’ve returned to it and selected a few brief poetry fragments: expression of human sensibility amidst the landscape. Maria Villares

11 photos, 25 x 50 cm, 2009

“No chão da água luava um pássaro por sobre espumas de haver estrelas” Manoel de Barros

“A chuva deformou a cor das horas” Manoel de Barros

meeting of waters between Negro river and Amazon river, AM, BR.

“Crescem jacintos sobre palavras. O rio funciona atrás de um jacinto” Manoel de Barros

Tapajos river, Manguari, Alter do Chao, PA, BR..

“O córrego tinha um cheiro de estrelas nos sarãs anoitecidos”

“O rio pastava os sussuros da noite nos luarais de eu ter olhos azuis”

“...o poeta mora a sós num corredor de luas, uma casa de águas”

Manoel de Barros

Hilda Hilst

Jamaraqua river, Tapajos, PA, BR.

Tapajos river, Alter do Chao, PA, BR.

Tapajos river, Alter do Chao, PA, BR.

Manoel de Barros Sao Paulo, SP - Brazil

portfolio maria villares - english  
Read more
Read more
Similar to
Popular now
Just for you