Exposies

Edgard de Souza_

DE 09/10/2018 - 10/11/2018 A

 

(2018)

Edgard de Souza presents new works that elaborates on one of his main areas of research - that of which surrounds the domestic environment and the movements of the body within that sphere. The domestic has always been present in the work of de Souza, be it in his sculptures of benches, vases, tables, chairs or cushions with anthropomorphic traits; be it in the works that somehow confronts the human body with itself. Additionally, de Souza's forms are ambiguous and fragmented, with vestiges of corporeity, desire, and eroticism. It is within this frictional space between the secluded private space and the impulse of a production directed at the public that de Souza takes his clues.

The works Cama [Bed] (2018) and Encosto [Backrest] (2018), both originates from the room he occupied at his parents' home in São Paulo during his youth. The furniture of the room was composed of pieces from Hobjeto, a furniture company founded in 1964 by the artist and designer Geraldo de Barros (1923-1998). The furniture designed by the company carried in them the constructive mark of the work of de Barros. Its modular furniture was produced using the same techniques as in de Barros’ iconic Formica paintings. The artistic production of de Barros was constructed from the deconstruction and fragmentation of both images and actions - procedures mirrored by de Souza who unfolds the pieces of his private childhood space into abstract and rearticulated fractions. Moreover, the works carry within them their formative environment both in appreciation of form and in method of construction. Both Encosto and Cama depart from the figurative object of their original form to return as the concrete abstractions found in the works of de Barros.

Edgard extends the modular articulation found in Hobjeto to his own work in his new bronze sculpture Untitled (2018). The work - produced within the logic of technical reproducibility - assume a new self-activated character being able to exist individually, as an edition, or as a new single work composed of various editions from the same matrix. The sculpture poses itself on tables, on the wall and also on the floor without having a correct final position for contemplation.

Body movements are also a central part of his new series of embroidery called R (2017-2018). Edgard takes the imprecise scribbles done in both large and small formats testing the limits of the reach of his movements - as seen in his recent solo show - and inverts them into a planned construction using cotton thread on linen surfaces. In the current show, the “action drawing” is taken in a diametrically opposite way by creating friction between the spontaneous previous drawings and the planned construction of the embroidery. Embroidery can be as erratic as scribbles - or punctual - as if they formed infections on the fabric. In both cases, they have in common the evidencing of the volume constructed from accumulation of material forming protuberances and thus breaking the bi-dimensional.

The surge of life drive embedded in everyday objects becomes evident in the series of sculpted wooden spoons that de Souza presents inside glass vessels. These apparently trivial objects, now endowed with impulses and desires, were meticulously sculpted from rare wood logs like mahogany and jacaranda from Bahia. In Colher lambe colher / Spoon licks spoon (2017) the wood comes to life through human features, and as a couple, the two spoons serve each other voluptuously. In Colher de pau - cara de pau (pinoquio) / Wooden Spoon – stick face (pinocchio) (2018) the utensil becomes as malicious as the character of Carlo Collodi. The lying spoon has its nose stretched out. Colher de pau - cara de pau / Wooden spoon - stick face (2018) is cheeky and sticks its tongue to the observer.

Another mundane object that surges with life is Torneira / Faucet (2018). This piece is from a series of faucets of outsized proportions that de Souza has been working on since the 1990s. From the mouth of the gold-plated bronze faucet flows a large drop resembling human secretion.