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Photographs
of artworks by Lula Rodrigues.
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Abdias'
painting is an impact.
A vital shock to the eyes and therefore to the soul.
He is not affiliated to any school. He owes nothing
to the Fauve nor his quasi-geometrics to the Mondrians.
His colors are merely contained, furiously imprisoned
within the limits the artist imposes on them - pure
and fervent.
The lines
are frontiers where imagination passes through, and
the signs, Abdias wants them to come f rom an ancestral
Africa he carries in his blood. But the truth is that
intentionality yields to the pure explosion of color.
He paints
with life and better with his life, bumpy but straight.
And to keep the result from being circumscribed to
the frame, it moves from one canvass to another.
Sometimes
one hears in it Debussy, sometimes Bach, sometimes
the tom-tom, sometimes a silence that stupefies, always
the syllable that carries color, as Rimbaud wished.
Abdias
is not even a master. We do not believe he will found
schools.
His painting is like a traffic
light. One looks, contains oneself, is starsled or
goes through, but never remains indifferent.
NAPOLEAO LOPES FILHO
Rio de Janeiro, March 1988.
1- Noturnal Invocation
of the Poet Geraldo Mello Mourao: Oshossi (Buffalo,
1972) 152x102
2- PombaGira
(Middletown,1970) 102x153
3- Composition
No. 2 (Buffalo,1971) 102x152
4- African
Symbiosis No. 2 (Buffalo,1971) 91x61
5- é
Oshun in Ecstacy (Buffalo, 1975),
oil and acrylic on canvas, 153 x 102
6- Recollections
of the House of Slaves: Goree (Rio de Janeiro,1988)
Tempera 23x30
7- Elisa's
Meditation (Buffalo, 1980) oil on canvass 56x71
8- Duet
for Bida (Rio de Janeiro, 1993) 100x80
9- é
Silver-Plated Dream (Middletown, 1970), 70 x 66.
10- The Horse and The Saint: Yemanja (Buffalo, 1975)
102x152
11-Yemanjá
(Rio de Janeiro, 1999)
**Unless
otherwise noted, the medium is acrylic on canvas;
measurements are in centimeters.
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