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Delson Uchoa    

From the series, Bicho da Seda
Delson Uchôa
From the series, Bicho da Seda, 2012
 
From the series, Bicho da Seda
Delson Uchôa
From the series, Bicho da Seda, 2012
 
Installation View
Delson Uchôa
Installation View, 2013
 
Meio Dia
Delson Uchôa
Meio Dia, 2013
 
Pindorama
Delson Uchôa
Pindorama, 2012
 
Serra da Barriga
Delson Uchôa
Serra da Barriga, 2012
 
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Delson’s paintings are densely contaminated with life, some of which being formed by pieces of his biography, thick palimpsests which accumulate paintings made 30 years ago and that are incorporated into new paintings, children diapers, family clothes. In another cycle, which I use to call Inhabited Painting, the artist applied a resin on the floor of his house / studio. The format of the floor shaped the strokes of paint. As it took weeks to get the painting ready, they were washed with lavender along with the rest of the house, received paw and foot prints from dogs, cats and people. When finished, they would peel off as if they were mature skin that is easily removed from the dermis. If Inhabited Painting was the result of an intense internalization, a film nourished and born out of the artist’s home, the cycle presented in this exhibition seems to represent quite the opposite: expansion. Its story starts in the street, when Delson sees a family protecting themselves from the sun with extremely colorful umbrellas. The light of the sun shines over them, creating the effect of light-color, a constant in the pictorial research of this artist.

Cristina Tejo

Northeastern Brazilian chromatic light catharsis. The lit artist’s eyes detect in the landscape the moving light-color. Under the noonday sun, a family sports prosaic colorful umbrellas, as if carrying pieces of a Delson Uchôa’s canvas on a ride. Dyed polyester, disposable, mimicking colors, tropical genes and entropies. Made in China. Insight! The casual performance of the Northeastern family consists, without knowing it, in dyeing the landscape with rounded shapes and floral metaphors, under the enebrianting effects of sunlight at a right angle. The sun, this star, agent and reagent of color. The chromatic cannibal! Heliotropic fantasies: the umbrellas are antennas which, in ascending rectilinear movements, connect the sky and the land, the soil and the sun. Flowers sprouting in the indomitable nature of the sertão, seen here as a backdrop, as a surface waiting to be tinted by venous and oxygenated reds, timeless blues and citric sap greens which emancipate themselves, to the command of the sunlight, from the color palette of worn truisms.

Eder Chiodetto

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