Curatorial Texts

“Painting is silent poetry” - Simonides de Ceos

The subtle changes and signs of nature are crucial elements for Patrícia Carparelli's creation, such as the meeting of light with sea water, one of the starting points for the realization of her work.

For the artist, each moment is an eternal moment. Observation goes far beyond what is visible to the eye, it is a constant exercise of materializing personal emotions through paintings and sculptures, always linked to intuitive action, following the spontaneous and dynamic movement of the body, without the rigidity of traditional techniques.

Patricia brings vivacity and fluidity, creates a new rhythm for sensations and interpretations of her surroundings in a constant construction and reconstruction. Without ignoring the needs of the material, the painting follows the materiality of the paint and creates new ideas of transparency.

There are countless possibilities for figuration and interpretation of abstract forms, leaving the viewer to follow their imagination. The simplicity in translating such sensations goes beyond the complexity of trying to understand many of them. The work is an invitation to an inner and deep world.

Camila Yunes
Founder KURA ARTE

Landscapes emerge from the white immensity, the transience between white and colors takes place in a process of meditation on the emergence of movements, forms, nature. The moment is captured between the visible and the invisible, between the complete and the unfinished. The awareness of the present time transforms the incompleteness of forms into the essence of the work, the ephemeral is made in the immensity of meanings that the work at the same time makes and undoes from the countless possibilities of figuration, giving the viewer the role of giving continuity to the imagination.

The connection between time, movement and gestures are questions that make up the artist's creation process. In this research, blank spaces become challenges to be unveiled or hidden. The creation of a dream world takes place through the limits between white, space, colors and transparency. Sometimes with materiality, sometimes with subtlety, the dynamics between full and empty changes as you do.

If transparency is the form, white is the structure - the watercolors dance in the coming and going of the nuances between surface and background, the movements of the sea and its scintillations are given through the fluidity of the water, the colors that are formed in the meeting of the sunlight with moving water lead to reflection of internal movements.

The search for depth between layers, dimensional shapes and the concreteness of color takes place on the boundaries between conscious and unconscious. Thus, along with reflections on modern and contemporary art, the practice of oil painting emerges. The dynamism of the artist's body movement with the paint brings vivacity and fluidity, a new rhythm is created. Without ignoring the needs of the material, the painting follows the materiality of the paint and creates new games of transparency. A constant construction and reconstruction.

The harmony between shapes, movements and colors follows the same path as the construction of dreamscapes based on elements of nature. Within the clinical and introspective field of art therapy, the artist looks for glass to present the chance contained in the forms. The materialization in glass materializes the translucency that exists between the spaces that Patricia has been researching since the beginning of her production.

“Each moment is an eternal moment.” - Patricia Carparelli

Thais Teotonio
Curator

We begin our presentation by clarifying that, in the divide of the so-called Abstractionism, Carparelli can be framed in the Lyrical segment. Her production, driven by intimate impulses, is guided by expressions of her unconscious and intuition, with an undeniable production anchored in organic forms that refer us, in most cases, to details of scenes and marine or lake imaginary, despite any narration.
 

Spectators, more often than not, are surprised by imagining what we see at the water's edge, be it the sea or the shores of a lake. Transparencies, fluidity. Like a small depression on the surface of the soil that retains water, where we can find plant fragments next to shell debris and other similar textures. An expanded look at this microcosm, where the forms, already diluted, abandon the narrative task.

Having done this first basic framework, we refer to the first comparative efforts. Once a member of the so-called Informal Abstractionism, many could immediately imagine some point of tangency with Jackson Pollock, iconic painter of the so-called Expressionist Abstractionism movement. Nevertheless, Pollock's technique consisted of pouring paint over horizontal surfaces, where there was a frenetic performance in an almost performative way, forcing him to approach and, in a continuous act, move away from the canvas, seeking viewing angles, with results close to random. Although there is fluency in creation, on the other side of the spectrum is the work of Carparelli, resulting from slow and peaceful movements, with imagery linked to the “inner need” for peace, the calming effect of the reunion with the natural. Informal abstractionism, yes, but not vibrant and that soothes viewer gaze. 

At this point in the presentation, readers are already aware that they will come across lyrical abstraction, informal but not expressionist, a calming look that brings us back to the marine imagination, with details and angles of riverside fluidity, whether on the banks or small depressions by the sea.    

Let us therefore focus on the chromatic harmonies, on the so-called Carparelli palette. This is perhaps the most exotic aspect for a European spectator, accustomed to the light and nuances of the temperate nature of the old continent. Carparelli lives in the most tropical of mutes, in Brazilian lands, surrounded not only by nature, but also subject to the typical insolation of this region of the globe. Her palette is often the result of radiation that falls on forests, plants and flowers, on the surface of the ground or even on the waters, completely free of clouds or fog, without the European filters that lower the tones. From some screens, especially small ones, one can infer intense heat and exposure to the sun and elevated temperatures. Carparelli can flirt with Fauvism, since she even uses pure colors, without mixing them, without tinting them. In her small formats, she uses intense colors, referring us to the details of tropical plants, putting her own state of mind and her inner impulses on her canvases. Such sensations are conveyed, with great competence, to the spectator, in a way totally free and devoid of disturbing or depressing vibrations. Note that there is little gradation between the hues. There is an excess of impulsiveness and experimentation, without the use of tests or previous studies. Carparelli's palette accepts comparisons with André Derain's first watercolors; of Jean Puy and his blue-green tones; of some works by Vlaminck. A comparative effort is made here, only with regard to the palette, not the themes.

Considerations were made regarding the conceptual framework, comparative analysis, reflections on the palette and chromatic harmonies; it is now up to us to make additional digressions as to the form explored by the artist. It can be said that there is an almost synthetic view of nature. It is worth highlighting the complete absence of three-dimensionality. Carparelli's impulsive visual sensations free her from any connection with the narration of reality and naturalism itself. Sensation originating from the natural but breaking with three-dimensionality. The artist seeks to compensate for this bias in her production of glass objects. A counterpoint to painting. However, the shapes worked also refer to the marine or lake imagery, using organic shapes, of mollusks and the like, with the transparency of the waters in the glass used. There are typical harmonies of marine life here (from mussel shells on copper), in contrast to shades of green and blue – travel across the Adriatic seas; of Marmara and the Aegean. Fluid on celestial, turquoise or even cobalt surfaces. Identical imagery, opposing techniques. Two-dimensional organic canvases as opposed to objects, also organic, of glass worked with metals that instantly transport us from the Arctic to Greece.

In this same line of ideas, it is worth highlighting the freedom of filling the surface of the support. Often, with special emphasis on her larger canvases, Carparelli leaves spaces unfilled, as in Wolfgang Paalen's early watercolors. On the one hand, the Austrian referred to vegetation and distant landscapes already blurred, almost like a spectator who, from the top of a mountain, moves away the foliage and plants around him, in order to visualize a valley, much lower and in the distance. . Just innuendo, no explicit narration. The imagination of both seems to come from nature. However, it holds us in a mysterious way more than the reality of experience in the natural. There is more mystery in the paintings than in the real world itself. We can say that, as far as composition is concerned, Carparelli is connected to Kandinsky's abstractionism, with her pure colors and quick brushstrokes, inducing something existing in the real world, without, however, allowing a direct connection with anything in a specific way.

As with everything that has already been said here, it can be concluded that Carparelli's works do not focus on rationalization, they are completely independent of intellectual analysis so that there is fruition. Nor do they resort to lines or strokes, with total abandonment of the traditional perspective. There are no great tensions or any violent brushstrokes, with the use of a unique and fluid texture. All this with absolute prioritization of intuition, without the use of any previous studies. Creative freedom based on the sentimental-emotional aspect, in a way indebted to the therapeutic effect of the chromatic harmonies of nature, especially with the palette and imagery of seascapes. It gains three-dimensionality, as we have already said, only in her glass objects combined with metals, but maintaining fluidity, chromatic range and mere associations with elements of nature.

Finally, we should clarify that her works reflect the stillness of her personal aspect in a clear manner. Even when using typically tropical colors, low vibration, giving us the sensation of a glimpse of detail of paradisiacal flora, like someone holding a small seedling in the garden of Eden. Less voluminous painting, fluid in the planes, with a clear aspiration for serenity, leaving us with a soft taste of eternity.

Pedro Mastrobuono
President of the Brazilian Institute of Museums (IBRAM