The essence of the world
The painter Evandro Angerami paints weightless bodies. Entire mountains formed by the matter of clouds, a kind of view that could only exist in a painting. The distortion of the look, however, serves as a research arc as the punctuation serves the text. At the beginning of his research, Evandro claimed to seek, through his images, the silence of days. A counterpoint, perhaps, to the daily bustle of today. From nature, the painter draws the landscape. The sky, the sea or the wide view of fields were portrayed in ink on canvas. The contemplative landscape, added to the search for a visuality that is also contemplative, demonstrates the painter's interest in a fleeting quality presence.
Being present in the world means facing the diverse: relating to what is alien to you. From the presence, the quality of what can be learned from the surroundings arises. Evandro's paintings, little by little, began to communicate with his observers in detail. Techniques, new and old, reinvented to talk about what fills the humanity of each body.
A certain spirituality is involved in this body of ethereal research on the tactile relationship between people and their surroundings. Thus, what used to be landscape, became an abstract body of colors in relation to composition. As if the artist no longer tried to portray what is visible, Evandro Angerami started to treat painting for what it is: the relationship between colors and forms.
Without denying the material of the world, but starting from it, the painter incorporated the gold leaf into his materials. The brilliance of the precious metal, interacts within the composition and, moreover, makes it telluric what once exploited an amorphous sensation looking for a body in the world. Perhaps another way of putting this research is as follows:
As Austrian philosopher Ludwigg Wittgenstein puts it, human communication is largely enunciative. This implies that everything that can be pointed out objectively can be easily contemplated by the cipher of
language - which enables communication. However, the problem also arises from this method: how can we have any degree of certainty that two people refer to the same thing when we are dealing with what cannot be pointed out? Because each one feels the love, the hate or the hope, isolated inside their skin. How to enunciate what cannot be shown? It seems to be in this small blind corner of communication that Evandro Angerami works, looking for clarity in objects of obtuse glance.
Like the Venetian Titian Vecellio, Evandro Angerami seeks in the vision the ability to apprehend from the world's hard matter whatever animates things to the movement. The lightness of the landscapes, thus, reflects on the relationship between the will of the subjects who look to inhabit the painted skies and the mountains without a body.
Almost as if the artist saw in the presence before his canvases an indication of the will that is not limited by biology. After all, the materialistic canon of modern humanities does not take into account the presence or possibility of the presence of a spirit. Just like the Venetian painter, Evandro Angerami searches in bodies for what makes them alive.
Why do bodies move? To answer this question that may sound silly, Evandro Angerami empowers himself with the responsibility of showing that the human will, when immersed in nature becomes part of a larger movement, while when immersed in culture it is enhanced.
This is the will of this exhibition project, to reveal to its visitors that the exercise of becoming human is not individual, but collective. After all, as the Portuguese writer Valter Hugo Mãe says in his text on dehumanization:
"- Your humanity is not exactly contained in you, Halla. ”