Luciano Figueiredo

Rio de Janeiro, Brazil

Throughout my years of making art, all of my research with basic formal elements such as color, volume, space and light has had a strong relationship with the other arts such as poetry, film, music, and graphics as well.

I like to stress this aspect of my work because of my art education, beginning with my early years of apprenticeship to the important movements of Modern Art and the artists who inaugurated the many veins of abstract geometric art that offered new conceptions of space in painting. My generation, which began to work in Brazil in the late 60s under the heritage and influence of Concrete Art, learned well the potential of the ideas surrounding the interrelations among the arts and, as such, the experimental field where subjectivity could be freely exercised. This was opposed to some of the orthodox fundamentals of European art that attempted to confine abstract geometric art to a systematized and inflexible style of expression.

It was certainly the awareness of this conflict that made me feel free to venture into other ways of expression. For example, I discovered in trivial objects such as the newspaper the sensuous quality of the turning of its pages, the rich chromatics of black and white and shades of grey, the graphic and spatial values that gradually helped me clarify what I wanted to advance in my attempt to create series of works not governed by previous aesthetic conventions. In my shaped volumes or “reliefs,” I use many layers of paper or canvas in order to try to establish a relation of color and volume that would allow the viewer to have an experience of three dimensions and of an object held in suspension.

So it was a non-pictorial, non-aesthetic and merely a utilitarian visual object that led me to explore the possibilities for painting in my currently work.

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