|
Generally, painters create non-realistic, exclusively
pictorial compositions with visualities of strict symbolizations
of pure plasticity, without reference to outside reality,
in order to insert abstractionism in their works as
the antithesis of their well-developed, consumed and
defined figurative art. The examples of abstractions,
while antinomical transitions of the objective representation
of outside reality to the fully unrealistic and informalist
painting in everything metaphoric of a singular total
subjectivation of individual and unequaled creation,
have been so frequent and numerous in international
modern art that they already constitute a generic rule.
Manoel Costa is an extrinsic case to this rule because,
between his figurative and non-figurative art, there
is fundamentally no total rupture from the pictorial
point of view but, rather, a coherent essential correlation
in handicraft terms. Displaying equal technical resources
and handicraft solutions, i.e., an accentuated direct
contrast between dark and light colors and with tonal
gradations in a material texture ranging from the glazing
of a paintbrush to the impasto of a spatula, informalism
with a tachist characteristic and figurative art with
an expressionist feature conceived by Manoel Costa constitute
a sign of his preoccupation with the act of painting
itself, independent or not of figurative-realist representativity.
To Manoel Costa, painting is not a dialectic confrontation
of extreme, disparate and alternative styles. It consists
of a univocal and appropriate plasticity to shape an
individual vision of common reality as well as to express
a dense subjectiveness of artistic creation.
|
|
