Back to Gallinari
Rodrigo Moura
We may evoke a greater contention or a desire for synthesis to talk about the latest works by Adrianne Gallinari. Instead of the walls of the exhibition rooms, smaller format works. Instead of the compulsive writing that created turbulent mental spaces, a more contemplative attitude. It’s not that her new works are strange to her earlier production. But they are better reconciled, as if the maturity of the language itself gave calmer fruit. Where there was dispersion, there is now concentration.
It’s not by chance that we may observe the persistence of the landscape as reference gender in these new works, marking a relationship of greater submission of the space to the artist’s gesture. Naturally, it’s not about a conventional form of landscape. The development of the line in direction to the constitution of the space makes the forms more cohesive, and their repetitions end up making everything more recognizable. The closed linear patterns are even more tense than they were in the past, and that’s what allows the creation of works in which they occupy entire areas, working as the matter itself of which the plan is made.
In some of these works, figures merge into the general composition, being only subtly noted. As we observe, other elements stand out from the background, suggesting enigmatic narratives: an open book of the same size of the figure, a geometrical shape opposed to the mountain that seems to be a house. The eye and the body wander between figuration and abstraction, among represented spaces and other more psychological ones. Gallinari strives to create these moments of meaning suspension, disorienting our perception with delicate actions. The restlessness, quality of her entire work, is always present, even if more serene.
Other works still insist on the repetition of shapes as a strategy to suggest rhythms or temporal durations in the space. The organic shapes of trees and vegetation throughout pseudo-perspectives make us think of long walks along the landscape, exercises of surroundings apprehension that serve as basis for her landscape verve. As a result of the immersion in her return to the atelier, Gallinari explores, in an analytical way, the possibilities that drawing and painting offer, blended in these compositions on fabric. Isolated motifs of distorted geometrical shapes allow us to examine her personal design against painted backgrounds. Others take on more pictorial processes, not only for a more frank use of the color, but also for the use of glaze on graffiti. A big piece of fabric maintains the epic dimension of her organic-abstract compositions alive, in which the geometrical weaves acquire environmental scale.
Without exhibiting her works in Belo Horizonte for a long time, retreated in her ateliers in São Paulo and then in Salvador, or dedicating herself to monumental book illustration projects, Adrianne Gallinari shows again in the city a vigorous collection of new works. It’s an unmissable opportunity for the public that has long known her to see her again, as well as for those that will have the chance to venture in her work for the first time.