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When we paint — whatever the style or model, physical or imaginary — we obey to the Nature laws. Although the Life paints with pigment-light and we paint with pigment-matter, all days begin by release themselves from the dark blues, passing through the reds and yellows until they reach the white. It’s the noon. After that, the days continue their trip but making the opposite route, climbing down by the spectrum: white, yellows, reds and closing themselves in the dark blues — also through the way how the days born and die we can realize how the Life repeats itself, as though there is no more than the endless cycle of cycles. It’s always the same. When we want darken any color or tonality but preserving its character, we have to do it by adding a mix of blue and red — whatever is the kind of speech, representational or abstract. So, starting from here I’ll direct my writing to the representational painting; I’ll express my thoughts about the concrete and its variations, from the formal or excessively formal — as the hyper-realism — till the informal or casual, as I like to call it when the painting is supported on the free gesture. Why, representational? There is not another kind of art or whatever beyond it. Any color or shape represents something; any signal, gesture or expression has its meaning. Consciously or unconsciously, when we make a gesture, any gesture, we are sending a message, once there is no signal without corresponding message; there is no cause without effect or consequence; every movement has a purpose —

we need remember ourselves that we live under the causality regimen; if we are or not conscious of it… it is another story. I won’t be wrong on saying that, at beginning, all people try to reproduce what they see. What is normal, once we try to pick up what attracts us; our hands are working for reaching what our eyes are seeing or what we see in our mind. However, after some time and lots of exercises, we realize doesn’t be possible to compete with the Nature; we conclude how unrepeatable are the light, shapes colors and tonalities; how much distant, even the photography, stays from the real sceneries. This is the starting point to the interpretation, the beginning of the synthesis. This is the moment from which we can start making poetry, because, instead to copy the reality, our concerns are about create atmospheres, preserving the models’ character — actually, more than words, Poetry is atmosphere. Each word has a meaning and contributes, as cloud for a strong and sweet and, above all, romantic sunset. Talking about affection and style comes next. Note: Hirst has ended by saying that it is easy to painting as Rembrandt has done. It is just need to learn to paint — I’m sure to be easier to put a shark in formaldehyde, once the shark is already done. It is just need to fish it and finding up any Saatchi. to be continued rodrigocosta.wix.com/rodrigocosta

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DESIGN MAGAZINE 27 (JANUARY/FEBRUARY 2016)  
DESIGN MAGAZINE 27 (JANUARY/FEBRUARY 2016)  
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