Santidio

About

The exhibition named “A Certain Look” is a clipping of the private collection built by Celma Albuquerque that brings together 40 works of nine artists in tune with the cast of Galeria Estação. This private collection reveals the look of a gallerist who brought to her space in Belo Horizonte names like Iberê Camargo, Nelson Felix, Antonio Dias, José Bento and many others, nevertheless not distinguishing scholarly production of the so-called folk ones. This language is only now being duly discussed and inserted by thinkers and critics on the same circuit of contemporary art.

Curated by Vilma Eid and Germana Monte-Mor, the show features works exclusively observed by the sensitive sieve of Celma Albuquerque: Itamar Julião (Prados, MG, 1959 – Prados, MG, 2004), Artur Pereira (Cachoeira do Brumado, MG 1920 - Mariana, MG, 2003), Mauricio Silva (1960, Recife, PE), Maurino (1943, Rio Casaca, MG), Amadeo Luciano Lorenzato (1900, BH, MG – 1995, BH, MG), Farnese de Andrade  (1926, Araguari, MG  – 1996, RJ, RJ), Jadir João Egídio (1933, Divinópolis, MG), Antonio Poteiro (1925, Santa Cristina da Posse, Braga, Portugal – 2010, Goiânia, GO)  e G.T.O. – Geraldo Teles de Oliveira (1913, Itapecerica, MG – 1990, Divinópolis, MG).

Curated by Rodrigo Naves Galeria Estação will present on another floor woodcut works by the young artist Santídio Pereira (SP 1996). This is the first solo exhibition of the boy who at age of 9 already played to draw and paint. The wooden wall of the poor house he shares with his mother in Favela 9, in Ceasa region, still has his designs. At the age of 14 he began printing under the guidance of Fabricio Lopez and Flávio Castellan, who teach in the Acaia Institute, a Non Government Organization that develops work in the Ceasa region in the city of São Paulo.

For the curator, the presence of color should be highlighted in the production of Santídio. "He uses them producing series in which, with the same design, he takes prints in varying colors (overlapping the black with one or more colors), in works that rely solely on the presence of color (without the presence of black) or prints whose figures are outlined in black, but receive patches of color that change the perception of them”, said Naves. For the curator, the woodcuts in black and white still keep the learning memory of the artist and reveal a harshness that he knows to take advantage of; instead of trying to imitate small details of foliage, he takes advantage of the irregularities of the cracked wood.

Naves also points that, in general, what stands out in the poetics of the young artist is the search of forms where joy often changes position with the drier pictures in which bright colors are seen clouded by blacks. "I hope that this dualism can take hold and grow stronger in his prints, since it is precisely this hybrid experience - made of moments of lightness and desolation - that sets the tone of contemporary existence," he adds.