Works by Vera Wildner are part of a family exhibition at Paço Municipal
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Critic, teacher and advisor of Visual Arts, the curator of the show, Maria Amelia Bulhoespoints out that he sought to “sew” the work of the other two artists with that of Vera Wildnerbearing in mind that the show is a tribute to the artist who devoted herself to teaching at the Porto Alegre City Hall Free Workshop for decades.
A friend and admirer of Vera’s work, Maria was invited by Karin, the late artist’s daughter, to collaborate with the exhibition in the form of a tribute, whose title was chosen through an intuitive suggestion by the curator. “Among the works that will be on display, there is an oratory that was used by Vera in her last show, The End is the Beginning, which took place at the Rio Grande do Sul Museum of Art (Margs). I remember that exhibition enchanted me a lot, and it was very interesting and beautiful”, comments the curator.
But the title of the show In the Form of Prayer it also dialogues with Karin’s creative process. The visual artist, who – in this project – honors her mother with the series work Cards, says he usually paints on his knees. “This practice started in 2020, when I spent a few months occupying an 18 square meter studio, which didn’t have much space, and then I started painting kneeling on the floor. Even changing the environment, I got used to it”, she comments. Author of a visceral, vibrant painting, full of energy – in the words of the curator – Karin prints all her emotion and love for her mother, celebrating the existence of the plastic artist who was also the founder of Atelier Galeria Estaggio, where she taught painting techniques.
“Vera Wildner’s brushstrokes expressed her memories and human concerns with life and death and Universal Peace”, comments Maria Amélia. “His work is a book of life, of his life, of the lives of all of us. An adherent of Buddhism, his depth has crossed the lives of artists and students; he has enchanted family and close friends who now gather to celebrate, in the form of prayer. , that luminous passage over the Earth.” Among the shows that marked Vera’s career, the curator highlights, in addition to The End is the Beginningalso Delcia – Wedding Dress and Silence (both on Margs) Born/Reborn (at the Xico Stockinger Gallery at Casa de Cultura Mario Quintana) and manuscripts (exhibition at Casa do Brasil, in Madrid, in 1998).
“Unlike Karin, Vera’s painting was more subtle, diaphanous, refining her works in the experience of emptiness and the fullness of light”, observes Maria Amélia. “However, I think she greatly influenced both her daughter and her nephew (André Santos), with regard to the concept of the complexity of the work and the relationship between artists and art itself”, she comments. “And, with regard to my look, I can say that I conceived the exhibition based on their work.” According to the curator, the “sacred” is a theme that “sews” the works of the artists with that of the honoree. According to her, the choice of works that are part of the current exhibition – and the entire management of the works, which were developed in the last four months by Karin Paiva and André Santos – went through “more affective decisions”.
Expressing all her emotion and love for her mother, and celebrating her existence, Karin followed the trails of shamanic messages, recovering signs and teachings of this tradition. The four doors, the wind, the animals and the intense colors of her Letters, present messages that the artist delivers using her body as a vehicle for the energies of nature (water, roots, blood, lizard tails, birds, among other elements that appear on screens), which explode as visions that are both visceral and spiritual.
“My mother and I have always worked with spirituality in life, in addition to art. She was a Buddhist, and I am a follower of shamanism. The result is work done with the wind, which highlights that spirituality calms the storms of life, and, thus a prayer was formed.” The flowers embroidered on the canvases are the lines that connect mother and daughter, according to the visual artist. “She always admired and respected my work, and she always said that my embroideries were charming, and it’s an incredible delivery: all this show I did in love, real, experienced for her.”
Santos, who follows a different, more rational and technical path, says that he still respects his intuition when choosing materials. Without resorting to any religious or philosophical tradition, he establishes a kind of ritual, configured in space unfolding, creating a path to reflect on our existence, with death as a backdrop.
Using authorial photographs of cemetery images that he himself takes, he establishes a journey that gives name to his series: Between heaven and earth. “This kind of path with tombstone images also reflects on life, death and eternity, which Vera dealt with in all of her work”, explains the artist’s nephew, who printed these photographs and inserted plots and pictorial language, with
monotype, and finished with the encaustic technique over the paintings. “These works, which are in the exhibition room, will culminate in two large panels, which are heaven and earth – in this case, sublimated photographs on fabrics, with overlaps, a diversity of materials and a very contemporary language”, he adds.
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