"The craquelure, which was at first considered an ‘accident’ in the production of ceramics, came to be purposefully incorporated into [my] work. The craquelure occurs according to nature’s innate intelligence. The forms suggest rays, lighting roots, branches, veins on leaves, veins in our body. All part of the same natural and organic intelligence. The canvas cracks to find this balance. Thus, the craquelure."
—Adriana Varejão
來源
香港立木畫廊 現藏者購自上述來源
過往展覽
Hong Kong, Lehmann Maupin, Adriana Varejão, October 10–November 21, 2015
The diverse work of Brazilian artist Adriana Varejão examines such themes as anthropology and miscegenation in contemporary Brazilian society. Born in 1964 in Rio de Janeiro, Varejão possesses an oeuvre spanning painting, sculpture, works on paper, installation and photography.
A common motif in Varejão's oeuvre is that of the Azulejo, a traditional Portuguese ceramic tile. In her most famous series, Jerked-beef ruin (2000-'04), Varejão ruptures the ceramic tiles violently exposing a flesh-like interior. The stark contrast between the aesthetically pleasing blue geometric tiles and the visceral interior provides commentary on modern forms of colonization in contemporary Brazilian society.
