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EARTH LINK [Catalogue] Papo Colo

Paintings 1994-1999 “Any repetition is an offense”


Earth Link [Catalogue] Papo Colo Paintings 1994-1999 “Any repetition is an offense� Every painting must be a unique physical and psychic state, a ceremony of specific circumstances In art, there is a language that is recognizable, not in a repetition of a style but of a creation of a world. The stanzas or narrative at the back of the painting Are its physical and metaphorical data transforming the object into a subject.


A painter’s poetic narrative of its creation removes the sense of decoration into the realm of intention and content, changing the ornamental value. Materials used become literature, diverse physical and metaphorical narration recreates its purpose into a fertile inter-relation. The viewer has more of a motivation to reinvent the story initiated by the artist, making an emotional duet of creation and interpretation, sharing and communication. Legends motivate imagination, reasons and admiration of the image. Enhance the connection of the owner, viewer, and creator. Painting is an interpretative story.


(Text on following page)


Black Fountain is an eruption of substance. Sprouts of condensed energy bursting with painted fragmented thoughts into dark matter with characters in the shadows. The speed of this painting is contagious, explosive, determined, risky and firm like you Black Fountain (detail on right, full image on previous page) 96� x 72� paint, wax, earth, varnish


Sounds painting. Black lines cover red under painted images, this functions as waves of sound that the ear in the photograph catches. This visual dynamic represents sounds creating a tension between the act of listening and seeing melodies filter. The painting is made with straight vertical lines Interrupted with white spaces to mark silences using color to differentiate pitch creating harmony to its surface. Painting has sound, you just have to listen with your eyes. Eyes Listen to Painting 72� x 54� wax, cotton, paint, photograph 1999


Unidentified objects move under the skin of this heavy impasto painting. A yellow seed grows into a dark sky, bringing to the picture an extra-terrestrial light quality. A kind of micro-cosmos forms under the skin of the earth substance. The seed, a vigorously implanted object into yellow soil in the middle of a moonless night; A metaphor for the viewer to apply to its own life. Roots are what sustains our content, its growth depends on how the subjects and objects move under your thoughts. Seed 72� x 54� wax, acrilic, charcol spatula, hand, brush 1999


Painting / The Ceremony. Blade strokes collide with the spatula as a dominant force. A figure in the background, from mythology and calligraphy, comes across as a base unified by broken lines and intermitent brush strokes. Making an ecology of ways to apply paint and create visual tension. The yellow and blue creates atmospheric suspension. Floating in a story space of unknown identity place in the past or into the future light in the background illuminates the ceremony of a composition of sensual choreography. Ceremony 72� x 54� wax, pencil, paint on canvas 1995


Oil on earth - two white areas converge with falling fragments like rain or tears that create tension as in life’s ups and downs, moving and static, involved in a brown atmosphere of transparency. This mystery of snowflakes in quicksand and brownstone, hard and soft, works as a metaphor for the multiple worlds of a viewer and a painting in collision, the contradiction of creation. Between Earth and Sky 72” x 54” oil on canvas 1995


Orbit within the trajectory within us. This image does not have a center, but a slice of aperture into the vastness. The system is vertical, against the grain of how we visualize an orbital system. With clouds splashing dangerously, red signals fly against a blue sky of constellations where gravity is the source. Clouds are placed on top and orbit like rebel elements refusing to submit to an imposed path. The dynamics of velocity rules this image as life’s rhythm. Orbit 72” x 54” wax, acrylic, charcoal spatula, hand, brush 1999


A painting that has a sculpture’s structure and an image’s attitude. This construction holding an obelisk shape with an image of a face mask is floating in the left side. The top background is made of shadow shapes with a horizontal line drawn with earth as the main material for most of the painting, a firm balance that holds a chaotic atmosphere. The one who owns this painting has its portrait in a space full of insecurities. A firm construction surface to hold your sphere in an obelisk Earth Obelisk 72” x 54” oil, charcoal, earth on canvas 1996


A central figure emerges in cone form dancing, or shaking, convoluted but firm. With other creatures inside this body, a white surface serves as a blanket in the background, suggesting a bed and a body in horizontal position looking up. Or a figure looking down to the viewer. The painting has a camera quality as the figure’s head is smiling, shmeared into the space. The story is how many of us are in peace and revolt laying in bed, on the surface or in the underground of your thoughts. Turbulent, your life is looking for peace. Observing struggling events. Turbulent Figure 72� x 54� paint and gesso on canvas 1995


This painting is an overlap in two levels or dimensions. Circles mutilated by surface collages, earth and impasto of varnish and gesso, building transparency and texture suggesting a free gravity with three-dimensional spheres of a full moon. The painting goes into a coil shape. This event picture recreates a performance of a blue moon in heat. Where your individual spiral has its double both hiding which one is yours? Gold Moon / Spiral Hidden Moon 72� x 54� wax, yeso, earth, paint, canvas collage 1999


Detach is a texture collage. The story is of a big bite, represented in the photo of a prehistoric animal. An incision, or cut, represented by cotton and a fragment of a shirt, is in the middle of the picture with red blood stains. A bite has detached a body, the painting of its parts -- a mutilation as your own story in life. Or time removed in your existence. Earth texture gives a wall geography or topography quality to its surface. Brown is the color of earth and skin / surfaces for this painting geography. You have a piece of history that has been taken away and put back as a collage. Detach 72� x 54� photograph, cotton, fabric, earth, wax 1995


In a black figures flow. Four obelisks work as a base of the central structure. Balanced with a pointy white base held by an incision at the bottom, it informs this three headed composition between 2 different blues held by a red background. This creates a movement that seems static but makes you visualize movement. This picture is abstract and figurative. A solo dancer extending its hand to create signals and figures in oval circles of the going and comings as the image performs for the possessor (viewer). Black Figure Flows 72� x 54� paint and gesso 1999


Multiples personas in a dark and shadow space world. A double portrait comes out as earth with complicated lines in an obscure background. Illumination comes from red and brown chiaroscuro. In this disturbing image, a dark poem with a space for hope is represented by the small face in the middle bottom of the picture. Dark light, like dark matter, is the composition of our universe. Multiple Personas 72� x 54� earth, paint, gesso 1999


This is the first catalogue of the Earth Link Series For more information contact info@pageaartrepublic.com

For an installation of this project, visit issuu.com/papocolo/docs/earth_link-2

Earth Link  

This is a catalogue for the new Earth Link octagon mystafarian installation

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