press: peca-se no MAH by ana lucia almeida

Ana Lucia
Ana Lucia Almeida

I have been working with Ana Lucia Almeida, throughout the past several months in preparing for my Seven Social Sins exhibition.  She is a lovely woman who has been delightful to work with and very supportive of my imagery.  The following is an article she has written about my Seven Social Sins exhibition, she has granted me permission to share it on my blog as well.  I don’t speak Portuguese, however, in text, I do find it slightly more comprehensible, therefore, I understand the gist of the article, but not every word (And English version has also been included).

Peca-se no MAH

Ana Lucia Almeida
Published in Fazendo nº86, Fazendo Artes Plásticas Peca-se no MAH

Here is a rough translation of her article from Portuguese to English (Thank you, Google Translate):

We Sin at MAH

Captivating, insidious, beauty settles, dominates, compels and redeems. As women, not perhaps, all women, but certainly as Sophia de Mello Breyner decidedly like Carly Swenson. Fine women, poet and artist, fellowship through poetry characterized by a common surrender before the real, and by the same commitment to the social.

“He who sees the amazing splendor of the world is logically led to see the amazing world of suffering,” Says Sophia and Sophia waiver that says more about herself, about Carly Swenson feel like saying a few things.

A native of Havre, Montana, married to an American military stationed at Lajes Base, this young American living in Terciera also has the ability to move against the splendor of the world and also be indignant against the evil that rages in it.

Seven Social Sins:  Seven Social Sins, on display from February 23 through June 9, 2013, in Dacosta Gallery at the Museum of Angra do Heroismo, includes twenty-one original canvases, inspired by the seven sins which Gandhi has blamed for social woes: Pleasure without conscience, Politics without principle, Wealth without work, Knowledge without character, Commerce without morality, Worship without sacrifice and Science without humanity.

Dramatically beautiful or shockingly evil, Carly Swenson’s works are intriguing and subtly provocative. Her imagery intentionally combines classical iconography, conceptual images and common objects, in order to promote an awareness of persistent factors injustice in the contemporary world.

The plurality and multiplicity of technical materials are associated with the color and exuberance of a combination of textures to make them immediately appealing. Forcing the viewer to look, initially baffled by how the references accumulate, building up in a manner combining surreal intimacy with the stridency of garish pop art.

The first impression is chaotic. However, when the imperatives of logic yield to allegorical dimension, the absurdity pops against the expansion of the meanings behind the intricate web of images.

In one of the most beautiful paintings for the concept of knowledge, swallows flit out of an open book, apparently sprinkling yellow florets over a world map. But the swallows are tied. Black wires are tethered to the bodies, restraining their flight and the open book is frayed, absent pages. This leaves only the cover stamped: State Textbook. At the base of the table, so many books, The Boy’s Book, What a Girl can Make and Do, The Girl’s Own Outdoor Book to Three Hundred Things a Bright Boy Can Do.

Another canvas, one in which the message is more direct approaches Politics without principles: plastic dolls livid stand up side by side, shrouded in an American flag crossed with bandages. In another still, burnt matches ascend harmonically over blue, birds, elegant women and Alice (of Wonderland) are also included. But the birds bearing placards “sold” and all the wonders succumb to the dominance of the face that watches winged clock faces are kept tucked away Reaper Courbet: Commerce without Morality.

This is because art “split time”, the “darkest jungle” “Night dense / heavy Coyotes / Heavy bitterness” “in which men resign.” But this is also an art light. As sin, attracts and repels … Like beauty, humanizes, moves, stirs. It’s worth visiting the Museum of Angra do Heroismo to appreciate the works in the Dacosta Gallery.

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