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On the occasion of the presentation a part of the work of Henrique Oliveira some questions were (re)born within us such as the following:
What is it that makes great art? What is it that makes the art ecumenical? Why sometimes do some artistic creations surpass the artistic intentions of their creators?
After much thought (over 30 seconds), the honest answer we can give is that we have no idea.
Besides, if we had any answers, we would write a beautiful essay, which would sell as mad, would make us famous and provide us with a comfortable life for the next 8000 years.
But without answers we only live with the dream. The dream of presenting a part of the work, of the Brazilian artist Henrique Oliveira.
The materials of Henrique Oliveira? Used plastic and worn wood. The guide plan? Paradoxical realism and fertile imagination. The result? The visual version of the recyclable man and his landscapes. Urban landscapes.
The artist stood in the window of his lab at São Paulo. Opposite the building site of a building under construction. His eye dropped to the polished plywood that formed the fence. He saw the torn pieces of wood and the peeled cheap color. He saw this material he did not know that he was asking for. He saw the material.
Birth place of artist the Ourinhos of São Paulo. Year in 1973. He graduated from the University of São Paulo in 1997. At the age of 34, at the same university he acquired the Masters of Visual Poetics. He started as a two-dimensional painter and continues as a painter of three. Painting the constructions that he invented and set up.
The roots of Oliveira are deep. It is the Amazon of the natives and the colonists. It is the Amazon of the universal natives and colonists of three or more dimensions. It is the poetry and poetic of the creator. It is the practical discrepancy of the un-created. It is the Amazon of just Anybody.
Tapumes are woody surfaces made of plywood that are mainly used as wooden fences, which are usually raised around construction sites. Theoretically they protect the working materials from the theft and the weather and isolate the workplace from the prying eyes. In practice, tapumes are the basic material with which the artist creates the three-dimensional dreams of a wake man.
First and foremost, he is optimistic:
‘Any attempt to find a message in my works will fail‘.
Second, he is a great sarcastic:
‘I believe that the message is never art itself, but instead, the lack of a message is a characteristic that makes some creations interesting to me‘.
Thirdly, he is deeply universal:
‘I believe that all everything that we make is the result of our life experience, our culture, our language and the exchanges we have made with other people during our lives‘.
Fourth and last:
Henrique Oliveira is another great artist.
Just below are some representative works of Henrique Oliveira. An interesting approach to some of the artist’s other works can be found by the always restless reader of ‘Kalliergeia’ in the Artists in Dialogue article of the National Museum of African Art.
The Projective Eye Gallery of the University of North Carolina at UNC Charlotte Center City presented a special installation by Brazilian artist Henrique Oliveira from January 31 to March 12, 2014.
On the occasion of the work and alongside to it was given a performance of modern dance. The following video is extremely informative.
After the dance, Henrique Oliveira is musically greeted by Raining Pleasure with its inspirational cover of Manos Hadjidakis‘ song Dance of the Dogs.
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