Guilherme Dable

Guilherme Bueno

There are two noteworthy scenes in the history of painting in the middle of the twentieth century: the first, widely known, is the sequence with Jackson Pollock which Hans Namuth filmed, in which the artist comments briefly on his method, "demonstrated" shortly after on canvas and glass; the second, more famous but less revealed, offers the moment when Duke Ellington meets Joan Miró at the her studio in Jan les Pins, in the south of France.

Fragmentation strategies

Mario Gioia

Álibis, Desvios e Atos Falhos (Alibis, Detours and Freudian slips) sediments a path to which Guilherme Dable?s work was naturally oriented. This is attested specially by the tridimensional piece that the Rio Grande do Sul born artist installs in the largest exhibition room of Eduardo Fernandes Gallery. Dable?s first solo exhibition in São Paulo presents a fluid compound of works, in which painting, drawing, sculpture and installation are languages that blend and generate results of difficult determination, but endowed with mobile and restless senses and meanings.

THE SKETCH OF THE INFEASIBLE

Adriane Hernandez

When the drawing shows so many absences, would it deny the logic of the drawing and of the drawing action? Conducting insignificancies through the potency of a void, with little – or much – noise, it becomes noticeable; challenges the logic of the sketches by creating arrangements of impossible plans, experiences coming as much from the organism as from the geometry, showing this dialect as essential unfinishedness