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The poetic of Silence

Mario da Silva Brito, in his Diálogo intemporal (Timeless Dialogue), points out that “the modern men lost his pleasure in silence”. This sentence becomes more stimulating when related to visual arts, because there aren’t few who always hope to find in paintings and art installations an explosive and expressionist view of reality, having difficulty in coping with those works that stimulate the being inwardness.

The artist that can transfer to his work a feeling of silence and wide breathing wins a challenge. Builds, by means of visual arts, a production that communicates a feeling of inner meaningless, that fulfills itself in the moment that the painting is seen, revealing a process of visual ripening and a control when conjugating several images.

Evandro Angerami paintings reach exactly this dialogue with silence, thanks to his skills when working with wide areas, in which the land and the sky connect themselves so that they form a landscape that stimulate reflection and prompts a passage to a new dimension.

The reached result is the crystallization of a process of constructing his work, which includes an unfinished biology course, sculpture studies, bachelor in visual arts by the Faculdade de Belas Artes and studies in the Rubens Matuck and Aldemir Martins studios.

Angerami, born in São Paulo in 1979, has already received an honorable mention on his illustration from Cornell University, inNew York, USA, country which he has already shown his work, paintings of cities. Subsequently, he immersed in a universe of technique, material and image estimation, as artistic and existential proceeding.

By using a leaf of gold and oil paint, Angerami tries to reach the highest peak of his production. A realm of images and beaches that do not contain people, in which sand dialogues with some vegetation and the sky, sometimes shown with stars that, in white or revealing the canvas background itself, create atmospheres of observation and consonant balance.

In the second act of Winter’s tale, Shakespeare wrote that “The silence often of pure innocence/ Persuades when speaking fails”. Evandro Angerami’s work obtain this result. His search for the poetic of silence and for the esthetics of the purest possible breathing recovers, in each painting, the pleasure of creating and stimulates the observer to bend himself over his values, questioning the meaning of art and life.

In order to do that, the silence that his paintings create in the contemplation act constitute a subtle teaching: that great art does not necessarily need noise to be created or seen, being, when honest, generally, the result of a lack of noise, living in between before and after the creative process.

When the result of this breathing that the painter gives himself, the works that contemplate one artist, as is the case of Angerami’s paintings, not only the have quality, but the lyricism of that the artist can do with his sensibility, more and more perfected when added to the technical resources learned during his career.

 Oscar D’Ambrosio, journalist, master in Visual Arts by the Instituto de Artes Visuais da UNESP (UNESP Institute of Visual Arts), is part of the Associação Internacional de Críticos de Arte (AICA-Seção Brasil) (International Association of Art Critics) and is author, among others, of Contando a arte de Peticov (Noovha América) e Os pincéis de Deus: vida e obra do pintor naïf Waldomiro de Deus (Editora Unesp e Imprensa Oficial do Estado de São Paulo).