In the second half of the 1970’s, with extension to the early 1980’s, the painting, the water color and the engraving interpreted the painting of São Paulo in the 1930-1940’s. Thus, the analysis of bodies, portrait, still life, prevails as the study of light and space in interiors; water colors of landscapes cannot be omitted here.
The set of paintings from 1994 marks the triumph of drives in the dual play of looking and being looked, as not only something from the canvas stares the beholder, but it also draws his look. The beholder’s look is not entirely dissociated from the view of figures, except in the paintings in which nothing or much is discernible, successively: In the visual indiscernible, the painting launches the suspicion that the beholder is being stared from somewhere.
The broad repertoire of paintings encompassed by the end of 1990’s and the 2000’s brings a set of paintings that share the figurative and figural portrait of the indiscernible. Though some portraits play with the figural, the indiscernible is what haunts the beholder, that either envisions nothing or does it successively, becoming himself in the condition of beheld, though aggressively.
In the early 2000’s, the painting of heads is kept, as well as their modeling. The aggressive nature of figures is more declared in the painting than in the homologue modeling, in rictus that strike the beholder. Concerning the difference of aggressive nature’s effects, it should be considered that the modeling is made with a more contained gesture than painting.
More than the inglorious ones, the farcical characters walk in couples or in parties. Figures used in drama intermissions, the farcical characters are swelled as luncheon, even when they are resolved by lines, as their inflation is more a personification of bovine presumption than of any physical feature.