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The plural work of Manoel Costa appears to bring together
two extremities that would seem fated to never meet
but, thanks to his confluent brush, they meet and harmonize.
On the one hand, the local root, the varied national
theme, work and its day-to-day challenges. On the other,
the universalizing frame, the already sainted week,
the crisp image of the eternal. In the middle or, rather,
the core, cuts the strength of color, the materials
that become autonomous and point to and bet on the dimension
of man, sent and lost. Color is a form of redemption,
when the soul bursts the limits of form. And who wins
is the world, the field, the city, everyday life. Manoel
Costa's emotional colors know how to compose, superlatively,
these broken pieces of our history.
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