Fábio André Rheinheimer revisits his career with an exhibition at AZ Galeria

When designing a project, whether life or art, it is necessary to absorb and trust the creative process, whatever it may be. Knowing the unknowntaking a step in the dark and trusting intuition are some of the stops to be made along the way to reach the pinnacle of a creation. Fábio André Rheinheimer adopted this concept when presenting Portfoliowhich will be open to the public from 11am this Saturday, at AZ Galeria (Casemiro de Abreu, 1.412).

Working with art for 37 yearsthe visual artist, architect and curator’s creative method is research, whether in photography, drawing, painting or three-dimensional objects. Portfolio brings together his diverse methods, materials and experiments in the field of art, with visitation free until November 5th, Monday to Friday, from 10am to 7pm and Saturday, from 10am to 2pm.

Curated by Paulo Amaral, were chosen 20 works created over the last 12 years, a period in which Rheinheimer explores varied materials and formats, delving into the use of overlaps to expand possibilities in the artistic universe. “What we are presenting at AZ Galeria is what I consider a highlight of my career”, says the architect.

From this period, the famous series emerged Waterfall, Red Planet and The Mother of Goldproduced in sequence using the drawing technique (graphite, watercolor pencils on paper), where the artist says that he produced them based on theories created in his mind when looking at a colored pencil. The Storma series of photographs printed on fabric, is based on the malleability of ink on paper, where the artist photographed every minimal change produced, focusing on the creative process and the thousand possibilities of the same image. The latest collection present in the Gallery are laser-cut acrylic sculptures, called Poetic Ships. With lights fixed to their walls, the ships were developed and updated over time, part of Fábio’s research into a design product.

In his work, the investigation of creative processes for a new series of works is based on a technique where “certain elements create a guiding line”, which branches into thousands of sections and creates endless possibilities in the field. “The areas of creativity, not only artistic making, but other fields, can generate other processes, can contaminate processes. And I appropriate that, both as an artist and as an art curator.”

The exhibition’s curator, Paulo Amaral, adds that “this plurality of experiments in his career as an artist, and also that of an arts curator that he regularly exercises, reveals a dynamic and versatile artist, driven by a rich imagination and mastery of art. I deal with the techniques it addresses”.

This transversality of knowledge arises from the architect’s desire to testing, handling, theorizing and practicing the art. He says that he considers himself a “researcher in the field of arts” and that any of his creations, as well as the exhibition, are just a portion of its research methodologies.

Thinking about this new way of making art, Fábio André expresses his opinion about the finiteness of the creative process. For him, no art has an end, because “the power of researching in a profound way gives me the certainty that I will never reach the end of the process. I only explore a fragment, because I will never reach the end”. All these possibilities intersect in the gallery, in order to share with the visitor that art can be another means of communication and expression of feelings and possibilities.