E não havia nada que não viesse do olhar
Galeria Mário Sequeira
June 27th // September, 2015
” And there wasn’t anything that wouldn’t be a gaze! (the gaze contingency)“
Paintings by Pedro Calapez
I don’t know if everything originates in the gaze. At least my gaze frequently dazzles with unexpected images that in vain I try to engrave in my memory. The remains of those impressions appear in my paintings through my hands.
I’m lost, running in circles, trying to organize these countless references.
I believe that what I do depends on my gaze and what I achieve in painting is what arises from the contingency of living (what you experience, you may also not experience).
The becoming of the gaze, knowing that it continuously balances between seeing and not seeing, explains why reality is so difficult to follow. Painting will always be in the contingency of a gaze, on the (im)possibility of understanding reality.
The works now exhibited at Mário Sequeira Gallery are in their majority shown here for the first time, dated from 2013 to 2015, and use aluminium as their base material. Different series are displayed as I follow simultaneously different paths of work, testing distinct ways of painting, the varying use of shaped base structures as well as the ways of displaying them.
“Round”, “Swamps”, “Overseas”, “Reflections” and “Feathers” refer work titles. From here it is possible to deduce my praxis: a concealed abstractionism using circular and rectangular thin panels, or instead voluminous structures is revealed on large sets of panels organized in regular or irregular structured grids equal or differentiated depths.
These formal particularities allow the evaluation of different lines of work where painting relates intimately to its support and on the way it’s displayed on the wall. Abstraction is only one of the aspects of these works as the direction of the gaze and the relative position of the viewer to what he is seeing establishes important structural paths.
Gesture defines the use of colour but gaze dominates the quest for meaning.
Painting makes me an “flâneur” (for its responsiveness to movement, the relaxed gaze, its obsession for exploring reality, the translation to a new reality where time has no meaning) and this practice is what most matters to me.
Pedro Calapez, June 2015
(1) José Manuel dos Santos, excerpt from the book “Cesariny – em casas como aquela”