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Absonar (to disagree)


It is under the aegis of fragmented times, volatile days, uncontrolled flows that Sueli Espicalquis establishes hers visual work. Through a multifaceted production, but with a special appreciation for painting, with space for drawing, video, photography and three-dimensional art, the artist gains ground with her own poetics, a kind of topology of compositions and overlapping planes, of colour content, sometimes milder and more vigorous of destabilizing and continuous noise.

In order to reflect on the age in which she lives and her surroundings, Sueli Espicalquis, a mathematician of formation, went through some common points in the formation of a young artist (in this case, a new painter), such as the appreciation for material surfaces, colour, and the choice of more organic arrangements. And, through other supports, she also opted for more relational pieces, emphasizing the participation of the (former) observer.


However, Sueli Espicalquis seems to have moved more strongly and consistently for an expanded field of the pictorial. She abandoned the seduction of the diversity of materials, which was spared by the making of canvases and the composition of shapes of less definite contours, and reinforced what Paulo Herkenhoff has already called "pictorial events" 1. Because the quality of the works of Espicalquis comes more from the relations now arduously constructed by the artist, in a labour praiseworthy and of temporality more extended than its initial experiments by the support, that today, with a little more analysis, are linked to works of her authorship in other languages, such as the Sound Figures video, in which a rough surface vibrates and gains spontaneous drawings, according to the sonority produced by the arc of a violin. There are hisses and frictions, and they are welcome.

"(...) The networked society allowed the futurist vision to be made easier by articulating the space of flows and the space of places exclusively for the benefit of the former. How to qualify this new urbanity? Contemporary urbanism is double, ambiguous, since it privatizes and fragments, especially since it interconnects privileged places. While classic cities, no matter how idealized they may be, are autonomous poles and form a culture of limits and proximity, network urbanism interconnects the network itself to the detriment of others. Proximity can be ignored when urban boundaries fall. The outside and the inside are then radically separated (...) 2, warns Olivier Mongin. This description of the post-industrial in force can portray, with enormous and curious precision, the environment in which the poetry of Espicalquis is inserted.


By means of both large and small canvases, the artist conveys her plans of colour that seek the amplitude - the shades of green and blue are highlighted, and yet they are hit and undermined by other planes, sometimes of more artificial colouring, sometimes of basic colours. And as if a plastic-visual journey craved a more libertarian datum, but was suffocated by something that would prevail and originated from a greater force, something not comprehensible and with no soft features, which hang on to the brute even if a priori everything seems harmonic. And also, in a light and initial glance by such pictures, apparently aerial scenes of bucolic and placid fields appear.

Thus, the work of Sueli Espicalquis throws us more into relationships that attest conflict and uneasiness, distancing us from the virtual asepsis that apparently imbibes us. Her planarity of colour has more to do with the physical corrosion and sharp noise that the ember of a cigarette can produce on the paper, in the series of previous drawings that in a game of boldness and hesitation the human figure could never completed. Such constructions may have as habitat the superimposed planes performed by the artist more recently, in a data-path traffic that is more directed to a concrete bug and nothing far away than to a supposed functional accuracy.

Mario Gioia,

October 2014

1. HERKENHOFF, Paulo. Prêmio CNI Sesi Marcantonio Vilaça Artes Plásticas 2006/2008. Sesi, Brasília, 2009, p. 31

2. MONGIN, Olivier. A Condição Urbana. São Paulo, Estação Liberdade, 2009, p. 132