Meia’s practice is grounded in his research around landscape painting, its forms, history, and meanings. Meia’s landscapes begin to take shape through the artist’s movements, whether through his travels along the streets or through his circles of affection. Both circuits equip the artist with materials for the elaboration of his paintings. In the street, he identifies, selects, and collects elements with constructive potential; from his affection, he is presented with elements that carry tonic and symbolic qualities.
His compositions, therefore, are based on grids that detach from rationality, order, and neutrality, to develop from contextual subjectivities, the fragmentation of stories, and hybridism. Although his constructions are based on collages of materials with different intrinsic values, his practice includes classic and noble painting techniques and materials, such as encaustic, oil paint, oil stick, and charcoal. These materials coexist with assemblages of different papers, leathers, fabrics, pieces of towels, epoxy paint, hardware scraps, and felts, all in search of pictorial elaborations.
The themes of his paintings bring this myriad of elements together in the representation of horizons structured by roads. These paths reflect the observer’s journey in search of the multiple stories that make up his scenes.
Meia’s practice is grounded in his research around landscape painting, its forms, history, and meanings. Meia’s landscapes begin to take shape through the artist’s movements, whether through his travels along the streets or through his circles of affection. Both circuits equip the artist with materials for the elaboration of his paintings. In the street, he identifies, selects, and collects elements with constructive potential; from his affection, he is presented with elements that carry tonic and symbolic qualities.
His compositions, therefore, are based on grids that detach from rationality, order, and neutrality, to develop from contextual subjectivities, the fragmentation of stories, and hybridism. Although his constructions are based on collages of materials with different intrinsic values, his practice includes classic and noble painting techniques and materials, such as encaustic, oil paint, oil stick, and charcoal. These materials coexist with assemblages of different papers, leathers, fabrics, pieces of towels, epoxy paint, hardware scraps, and felts, all in search of pictorial elaborations.
The themes of his paintings bring this myriad of elements together in the representation of horizons structured by roads. These paths reflect the observer’s journey in search of the multiple stories that make up his scenes.
Acrylic paint, oil paint, encaustic, canvas, thermal canvas, tissue paper, oil pastel, charcoal and white glue on discarded drawer
Photo Filipe Berndt
“Irmãos [brothers] is the name I give to graphic marks that I add to compositions, aiming to distance them from painting and make them something more familiar. They are structural elements of the works that operate in the realm between figuration and abstraction.”
Meia
51 x 41 cm
Acrylic paint, oil paint, encaustic, canvas, thermal canvas, tissue paper, oil pastel, charcoal and white glue on discarded drawer
Photo Filipe Berndt“Irmãos [brothers] is the name I give to graphic marks that I add to compositions, aiming to distance them from painting and make them something more familiar. They are structural elements of the works that operate in the realm between figuration and abstraction.”
Meia
Acrylic paint, oil paint, dry pastel, oil pastel, masking tape, canvas, voile, satin and cotton on cork, wood and MDF mounted on lath
Photo Filipe Berndt
135 x 273 cm
Acrylic paint, oil paint, dry pastel, oil pastel, masking tape, canvas, voile, satin and cotton on cork, wood and MDF mounted on lath
Photo Filipe BerndtOil paint, acrylic paint, oil stick, dry pastel, charcoal, tissue paper, satin, bath towel and encaustic on raw cotton and MDF mounted on wooden batten
Photo Filipe Berndt
190 x 140 cm
Oil paint, acrylic paint, oil stick, dry pastel, charcoal, tissue paper, satin, bath towel and encaustic on raw cotton and MDF mounted on wooden batten
Photo Filipe Berndt
Oil paint, acrylic paint, encaustic, oil pastel, dry pastel, charcoal, leather and sheet on discarded drawer
Photo Filipe Berndt
“Irmãos [brothers] is the name I give to graphic marks that I add to compositions, aiming to distance them from painting and make them something more familiar. They are structural elements of the works that operate in the realm between figuration and abstraction.”
Meia
61 x 53 cm
Oil paint, acrylic paint, encaustic, oil pastel, dry pastel, charcoal, leather and sheet on discarded drawer
Photo Filipe Berndt“Irmãos [brothers] is the name I give to graphic marks that I add to compositions, aiming to distance them from painting and make them something more familiar. They are structural elements of the works that operate in the realm between figuration and abstraction.”
Meia
Oil paint, acrylic paint, palm oil, oil pastel, cotton paper, laminated paper, chamois paper, canvas, felt and canvas on wood mounted on a slat
Photo Filipe Berndt
182 x 155 cm
Oil paint, acrylic paint, palm oil, oil pastel, cotton paper, laminated paper, chamois paper, canvas, felt and canvas on wood mounted on a slat
Photo Filipe Berndtchange of works during the exhibition period
Photo Vermelho
change of works during the exhibition period
Photo Vermelho
Oil paint, acrylic paint and encaustic paint on wood nailed to canvas
Photo Vermelho
170 x 230 cm
Oil paint, acrylic paint and encaustic paint on wood nailed to canvas
Photo VermelhoOil paint, oil stick, encaustic, chamois paper, cotton fabric and satin on wood mounted on wooden batten
Photo Vermelho
56 x 52 cm
Oil paint, oil stick, encaustic, chamois paper, cotton fabric and satin on wood mounted on wooden batten
Photo Vermelhochange of works during the exhibition period
Photo Vermelho
change of works during the exhibition period
Photo Vermelho
Oil paint, acrylic paint, silkscreen paint, encaustic paint, varnish, oily stick, suede, glue, paraná paper, plastic paper, brass, cement, gravel, earth and Iansã swords on plasticized wood mounted on a lath
Photo Vermelho
“The Crossing of Souls is a regulator, a portal between day and night, where the strength of souls resides.”
Meia
256 x 192 x 24 cm
Oil paint, acrylic paint, silkscreen paint, encaustic paint, varnish, oily stick, suede, glue, paraná paper, plastic paper, brass, cement, gravel, earth and Iansã swords on plasticized wood mounted on a lath
Photo Vermelho“The Crossing of Souls is a regulator, a portal between day and night, where the strength of souls resides.”
Meia
Oil paint, acrylic paint, silkscreen paint, encaustic paint, varnish, oily stick, suede, glue, paraná paper, plastic paper, brass, cement, gravel, earth and Iansã swords on plasticized wood mounted on a lath
Photo Vermelho
“The Crossing of Souls is a regulator, a portal between day and night, where the strength of souls resides.”
Meia
256 x 192 x 24 cm
Oil paint, acrylic paint, silkscreen paint, encaustic paint, varnish, oily stick, suede, glue, paraná paper, plastic paper, brass, cement, gravel, earth and Iansã swords on plasticized wood mounted on a lath
Photo Vermelho“The Crossing of Souls is a regulator, a portal between day and night, where the strength of souls resides.”
Meia
Acrylic paint, oil paint, cardboard, rubber, perfex cloth, non-woven fabric and satin on canvas mounted on a wooden slat
Photo Julia Thompson
117 x 198 x 3 cm
Acrylic paint, oil paint, cardboard, rubber, perfex cloth, non-woven fabric and satin on canvas mounted on a wooden slat
Photo Julia Thompson