Leon Kossovitch
Cabral, in this display, dismisses the figure-character – intimism, expressionism, romanticism – and licensing canons, it does not defray with the iconographic significance, nor lifts it with factory composition. But sometime gigantic, sometimes sidelined, the figure makes a distance from rhetoric to empathic, imposing a synaesthesia to the spectators, squeezing the paint, or of a composition, that, articulating the overseers’ intelligence, makes hypertrophing applications of pictorial processes. The excessive multiplicity, of figure dimensions and directions, alienates humanism, ie, a hierarchical system, such center, that substantiates it, raising it to a subject full of predicates, competing in it, or acts it out, capturing the network that transforms it into a theater character, which expands as an imperial representation. Spraying the substantiality of the inclusive subject, even when torn or ironic – expressionism – or full, even philistine – intimacy – and barring the scenery that captures the difference with an identity impersonation – naturalism, canonical realism, many other canonical ones – the figure is singular as an event of painting. Indifferent to the substance and scenery, canon and humanism, the cabralian image is an unstable composition, the proliferation of loose relationships as articulated intersections. Where it stands out, the figure shows itself at the intersection of pictorial tense relations, most often divergent, likely, however, deferred, referentially, by something else, for something else, by space, nothing. Field of passages, even referentially, the image engages things, pieces or nothing of the same things, forming thus, supra-pictorial areas, to be seen as areas that are sometimes opened, when unlimited, and closed, when configured as shells, vibrating areas that tend not to coincide with the contours of the figured objects in which the gaze follows, stops, jumps and goes. The predicative convergences are neutralized – their own color, tactile values, volume bypassed – and the compositional-rhetorical – perspective as a watchful scene of substances arranged in an homogeneous space, which refer to colors and sizes – the cabralian experiment allieates separations: neither figure is dramatized independently of its space, nor the space, autonomously thought, is included in the figure among other attributes. Waived the partition of the gender container/content, the work investigates the environmental figure.
Amended, meters away from the brush holder, bringing to the object an unimpeded visibility and image. While looking at the scans, the gesture is expressed, a synchronicity perception is hold and the execution is wide. The analytical perception and a synthetic gesture, therefore, a binary version but only a pictorially direct observation, it is argued, the very area of their actions, the creeping intrusion of memory and imagination in the voids where the sensitive falters or relaxes. Firming itself discontinuously and driving out blind powers of integration, the binary wants perception and extremely active gesture in its final completeness, of its sensitive operation (in which the unobstructed vision only is a remedy) while attempting to complete the lacunar excesses. Mocking of theatrical and substantial seduction, memorable and imaginative identity, the inconclusive does not weaken the strength of the deed, rather than strengthens it without weakness, thus disrupting the blind units, also cools the anxiety by styles that in all the work, make the identifying general class recognizable, and originality, this painter, crystallized in the uniqueness of hypostasis. As a result, the audience refuses to be avatars of the same identity, they follow links and jump discontinuity that the painting suggests, while it leads from an image before dark procedures that are discovered. The commitment of direct observation is not fascinated by the mirage of spontaneous perception and, conversely, it is not done by dissipating it into a model that has relapsed or not, in this, a priori, ex machina, directs the combinatorial matrix acts, in essence, both in the archetypal of any kind, or species, which returns to God, perceived by the idea, the identity that amends it as a variant created of a strict convergence rule. Operant only in the pragmatics of direct observation, the gesture that extends marks the look, it separates itself, in its turn, the filter of perception itself, relaying in immanent analysis and synthesis, due to the discontinuity of acts without a previous model, the relay crumbles the identity and makes the selection visible by the turning that would be purged as incongruous by the canons of convenience. Freezing the representation, the image is not conceived as a recognition of the first – this – but as tentative production processes and certain procedures. The pragmatic view deviates from the representation because it does not close the image to the object, that, interesting focus of perception, is deleted or included in it to be recognized. Aware of the object and transforming it with a hand that sees and perceives, painting it, the binary twirls the referentiality of representation, once that is done in the constitution of the articulated image with loose tension and, which ceaselessly renews the diverse visibility: the environment. In the drawing, two crystalline operate, very cabralian principles of painting: the molecular regime, which holds tense relations and intersections, made of oscillating compositions, the molecular regimen, which considers interactions by contiguity, producing resonant materiality. Molecularly, the designs result from the interaction of whites and blacks, support and ink; diversifying blacks by thickness, length and saturation of ink, marking them, still, with steady strokes and tremor strokes, the brush drives this profusion of modes, not obvious as a whole, against the pressures of a centering and unifying image. The molecular multiplicity of black metamorphoses white, shaken by the indifference of the media, it shatters, it rises, it spreads. Vibrating, whites are perceived as black, preventing the formation of iteractions and the making of a scene, which requires uniform support to be invisible, and substance, so that the background stands out flat on the dishes. Diverse and intense, the whites and blacks determine points, lines and surfaces, as material singularities, which do not nomalize and do not look for a center, be this of interest or of composition. Abolished in the molecular system and its hierarchical humanism, the decentralization highlights continuities and discontinuities across the composition in which the sight migrates for shells and surfaces. Referentially, the arm of the figure engages the sheet of bromeliad, which engages another page, which engages to nothing, which engages the blind fold, ways that illuminate the above-object design. The background itself, large enough to receive such acts, becomes a material, wrinkled surface of nicks and cavus, marked by multiple paths, which conceptualize anti-scenic space, anisotropic, a disabled transcendent rule. The spatial anisotropy, shaped by many paths, and renovated, is produced by oscillatory composition. The molar molecular vibration and oscillation, generated from the interaction, or contiguity, and the intersection, or composition, respectively, emphasize the design of Cabral’s materialism.
Although the works are done in stable research, carried out by the binary relations, they suffer incessant tremors, saving the same pragmatic analysis and synthesis, affecting the image, and renewing them. It is less on procedures and acts which, by some, are known, rather than the processes that are ignored by unforeseen events, the transforming energy. The procedures are combined in the system, exemplified here by the same black and white drawing, which, refusing precepts of rhetorical meaning, ideology, and the significant, compositional, generic in the subsuming of the known ocean of signs, do not let themselves be limited by combinatorial traits that fall into arrays, even pictorial. Apart from restrictions, procedures form a mobile system, in which some of them enter and leave the other with shocks and transformations that ride apart, the effectiveness of the singular outburst (which does not prevent depressive manifestations, restoration, and even the degradation of the known) in the production with assumptions. The processes do not have a prior defining knowledge: unannounced, they materialize in the dark picture, but are only after found, after being made and blown into its uniqueness, they shake the procedural system. While the procedures glimmer into the image, processes are surprisingly scintillating: when they are known, it becomes immanent to the system elements, and since the same procedures, shaken into this introduction. No wonder the movement in cabralian painting, setting procedures and the emotion of its system by processes does not lead to the operationalization of both sides, it is revealing in itself a result of his work from the beginning with the São Paulo painting of crease post – impressionist, it is shown, becoming clear, as it moves away, the relay of certainties and bumps in contempt of an immanence and imperatives of overcoming the end of another and some luck. The system that incorporates the shaking and trembling that ruins the system also is pointed out in this exhibition: the works selected in the range of extremes, excluded of procedure, when skating, and of the process, when it stumbles, the consistent prevail, albeit relative, of discontinuous, and more on drawings and watercolors than oils.
In watercolor it remains some design principles, but modified and specified; also the support insists in large dimensions, as it receives large strokes of hyper-synthetic gesture. The spots that are spread out are very material, and clearly shows the gesture, they mobilize the minudent perception: how to play it loose in rigor, width, length, direction and the curvature of the patches affect the subsequent strokes, doubling up the analytical effort. These distinctions of each spot, still referred to them all, determine the molecular and molar regimens of the watercolor. Molecularly, the material interactions metamorphose and support the white and the uniform, which, saved by the ink, they include themselves among the color palette and vibrate in the interaction with the neighboring colors, where covered by them, they reveal themselves as a modulation produced in the implementation of the medium, transparency which is modified by the saturation, where the remains of passage of the brush bristles paint stripes. The white thus multiplies, rises and spreads, being very diverse: as color, which participates in the palette, such as a tone, it extends to gana, as a continuity, which gives it constancy, which is rare, such as a jump, which is common, in differences in color and mainly from one to another bristle crease. The contiguity is not active as in the drawing, in which many blacks spread the whites, since it generates a spectrum vibration with the extended palette. In the interaction, the molecular highlights a different principle, determined by its own brush strokes, which manifests a materiality of color, yet it makes the juxtaposition worth it: not producing the vibration in the tremor and the decision of the trace of the design, but with the edge that separates one spot from another, or with the streak that distinguishes the very spot itself, the contiguity, about being chromatic action, it is tonal and thus, either continuous or intermittent striped or uniform areas. Exercising the molecular action in the colors, dynamism of complementary things, for example, it is also more material in the gesture remains, risks and brush strokes. The juxtaposition sets the maximum cleanliness, freshness of watercolor, that, dismantling overlapping strokes, preserves its flower; clean, the composition consists of dynamic surfaces arranged by colors, although covered in multiple ways, they are buoyed by gestural line applications. A uniform form, the spot produces a qualitative composition oscillating space, away from the homogeneous and quantitative, associated with linear perspective.
The relationship between drawing and oil watercolor does not create hypertrophy, they are linear, because nothing prescribes progress in passing through the middle and nothing ordains the manipulation of them as a preparatory sketch or study of other: complete in themselves, experiments are sufficient in each one. Of the three, the design is the farthest away from the rest, in the molar and molecular; the shorter distance of watercolor and oil, it must be stressed, it does not forward the subsequent drive, already known for manifesting its sufficiency in the transport of strokes, less experimental than watercolor regarding the vibration of the bristles and saturations, the oil researches the spatula with the resources of the brush. It does not redirect, the oil to the crown, even if the refusal to precedence does not lock up the means or prevents the above order as a succession among others. Correlatively, the ideas produced in the painting do not reflect other ones, main ones or of diverse species, which would be an external sweet illustration. Repelling the passivity that is so often assigned to them, the painting circulates the ideas experienced in a medium, moving and talking, being specified without thereby renouncing what they may have in common: it exemplifies the ideas of molar and molecular systems, a composition of surfaces ways, and their interaction with vibrating background and chromatic dynamics. They do not rise to the pragmatic theme, narrative, purpose, and goals should reflect the image, the product of processes and procedures related to the topical research, space, figure, environment, the cabralian image despises the transcendence of hierarchy, decency, class, and experimentation with unforeseen impediments. Subtended by the production, the image is the result only of painting, thinking in what to do, the relationship of gesture and perception. The exhibition of works of 1982 - 1983 sets out the various movements in painting from direct observation to determine which ideas are proposed and outlined before the others, new in all.
In oil ideas are incorporated from the drawing and, further, in watercolor: there are some only made for oil, manifesting a set of regularities and discontinuities of production. Sequenced chronologically, the works exhibited show the different particularizations of the relay system of procedures, being the ones taken from the other party or developed in themselves, and the processes that move and transform them.
The Picture at the table sits, defined, the muted palette of oils from 1981-1982 and it confirms the prominence they give to the detriment of the bare space. Employing the land, the work is done with liquefied and definitive strokes, tried incessantly in watercolor; regrets are not noticed in the juxtaposition made by the hyper-synthetic gesture, revealing an uniform and varied form, and varied from saturation or striped, the white canvas.
Picture and cloths, closed the experiments with a restricted palette, colors the pattern, in the pure limit, which erupt, suddenly, hesitating the system signed in Table. The additional ones insinuate themselves while tending to do the composition, a dynamics of green and red, in the molar and molecular; chiaroscuro of light, the color also comes on the body at the front, giving it plasticity values. The space does not constitute itself as a focus of specific experimentation.
With The Picture at the door there is the idea of complementary dynamic relationships: the vertical axis of support precludes violet and yellow, molarity of large areas of color; in the molecular one, red and green tones interact, the ones with shadows recede. These as lights that move forward, producing vibration and tension in the body. Being the molecular interaction driven by molar relations, the logic of the composition is the fluctuation, which belies the believable object.
Picture on the chair thematizes the idea that does not give a theme to the brush, but uses resources of a spatula. The effects of the juxtaposition of brush are known, which cultivates the flower and the cleanness of the ink, in its transparent stains with edges and ridges, intrudes the otherness of the spatula, extending oil even more flourishing and pure, because it is less manipulated, as it dilates the molecular features of the scheme. Applying saturated ink, the spatula holds the support and gains light when losing its transparency: losing the refraction of the background, of which only the brush handles and conquers the reflection of light by saturated matter. The brush limits itself on shadows and midtones, the spatula limits itself to the materialization of light, hit by the ink film: background refraction and reflection from the paste, the Chair is made of thin and greasy material.
About Picture on the carpet one plots another space. Extended by two perspectives, the sinking figure, huge legs, tiny head, and somewhat delayed, increased room, both in a conflicting environment in which the same door and head tend to touch, the space consists of transgression of perspective prescription, its inconsistency, further strengthened in the phenomenal growth of the vase at the front. Over-determined by chromatic act, the mismatches in violet and yellow are complementary agreed while the red in the carpet and the body, that come forward, and the greens of the vase, which go back, tensely oscilate, molarity. In this transgressive way, made of known procedures, the figure loses control in the composition, the aggrandizement of space liberates it from the condition and surroundings, showing itself in an anisotropic way, in the four alluded procedures, which are the four ways of seeing, firms itself in a de-centered composition.
To Dracenas and picture sets up a dominating space, placing the objects, trying to get what the Rug wanted, in sidelining the picture. Making itself with things and prevailing over them, the space imposes to the composition. Without searching through procedures, perspective or other that weaves the Rug, it has indeterminate limits and a de-centered overseer. Another palette comes in, cold, not invalidating the precedent, but enhancing it. With the intrusion of new relationships of color, metamorphosis in the system are insinuated, the research of halftones
Through the Store window one sees the glacial palette in evidence. The stroke extends itself in a hyper-synthetic form, while the spatula operates the body of the picture. The line is exposed as a new Store window: not playing out as an outline to be filled, nor stretching itself as hard classicism, it applies less to make a referentiality than being a transgressive of spots and transgressed by them. Compositional relation of intersections, allegorized in the Store window by the cutting and displacement, made by it, of the body: refraction as a picture. The compositional lines are thus underlining the corner against the usual trihedral, conferring indeterminacy space that also looms without marked limits, and bent.
At the Picture with araceaes, they intertwine with a cold palette, punctuated by red in the picture, halftone styling them, a unique action of the brush. Although compressed, the space around the figure is not its sea; designed for one another, avoiding compaction, by proximity of the look, space, circling the aroid and involving the whole body, the space itself is neither more nor less enough for the picture. Designed and implemented simultaneously in both, there is a new burst of processes, the one from the environment, of two pictorial elements.
Since nothing prevents the intrusion of another system, any kind of identity is made: not even the wrapped progress to be developed in a predicative form, linear monocentrism, nor a negative, equally predictable, which deploys identity and reunites with his determinations, a twisted monocentrism. In Cabral, the painting is decentralized in its production gap, in the completeness of gesture and perception in interactions, in the imprescriptibility of vibrating and oscillating compositions. Releasing of azimuths, it engineers space and figure, irreducible alterity to each other as shown differentially on a sub-sumption by the environment.
Connecting with the past, the idea of a pictorial environment differs from the climate, making it for convenience as an empathic expression of emotion, it lapses as a centered representation. Being semantic, it gives a kind of anesthesia while it captivates the audience: differs from the environment, which, decentralizing it, it does not represent it, but figures out the spacing rule of transcendent decorum, or convenience, would like a sensitive and eccentric overseer. The environment is material and it is produced in the immanence of the molar and molecular systems, it does not mean that in the open, it insists on the appointment of superficial shifts, so it values the interior, in which to sink in, deeply in representing the expressivist. The environment states and shows the consequence of the deaf painting to any sort of semantization: it is a situator of elements and it is not contextualizing them, since it makes sense to not want it; showing the picture and the relativity of space and their situations, distinguishing them without belonging to them. Third as the qualitative description, has a tensive paint that produces discontinuity without direction, and focuses on alterity, designating a situator, the image itself, singling it as well, being the elements isothermal or not. The environment gives various and simultaneous directions: it confirms the image of referentiality in its effects as the branding of naturalism of recognition and representation, as the designation is reinforced pictorially in molar and molecular instability of the image, the distinction of non- following recognition. It also makes the picture that motivates the title, barring attempts of illustration: the directness of observation, it does not ask for any metaphor, ideality, it operates as a synecdoche, in materiality, in the homology of elliptical and directness designation of that title of the binary that motivates it. It also makes that the image is self-designated, to the point of singling out this one, which is a here it is, which is itself proper, the same as deictic, hecceidity is discontinuous as the act of designating, and it sparkles. It finally does, what designates the image receptor, which is eccentric and time-sensitive experimenter: the image kidnaps the overseer that assaults and lives quiet, painting, whistling, talking: this text, which designated the images and painting that affects concepts. Operated by painting and placing image and elements, the environment pours over showing the movement of the designation. Stretching out on all sides, it is the same stretch, which shows the uniqueness of this, extended and of itself, unclassified, declassified generalization, like the intimacy and obsolete expressionisms: sensitive acumen of image, overseer, experience, time, name, exercises, this same environment is a blade that sharpens this painting.