Terra de pindorama, 2023
Painting : acrylic · 119.9 x 179.8 x 0.3 cm 47.2 x 70.8 x 0.1 inch
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Shipped from: Brazil
Delivery to: Germany , € 373
Estimated delivery: One to two weeks
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Verified Reviews : 9.6/10
About the artwork
Type
Painting : Unique artwork
Condition
Artwork sold in perfect condition, not framed
Unstretched (shipped rolled)
Authenticity
Sold with certificate of Authenticity from the artist
Invoice from the gallery
Signature
Hand-signed by artist
Dimensions ( cm • inch )
119.9 x 179.8 x 0.3 cm 47.2 x 70.8 x 0.1 inch Height x Width x Depth
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Credentials
Vetted seller since 2019 • Top Seller
Description
Vibrant energy defines this abstract composition. Bold acrylic layers create a rhythmic dance of form and color. The artist blends his architectural precision with a poetic, organic sensibility. Warm oranges and deep reds collide with cool teals and earthy browns. Thick brushstrokes suggest a physical presence. Circular motifs stack vertically like ancient totems or modern urban structures. These shapes create a tension between geometric order and fluid emotion. The composition reflects a lifelong journey across continents. It bridges the gap between the nostalgic landscapes of Bahia and the structured environments of North America. The play of light across the surface adds a luminous quality to the canvas. Depth is achieved through the layering of translucent and opaque pigments. This artwork captures a moment of spiritual exploration. It transforms raw nature into a structured visual language. The balance of hues evokes a sense of rootedness and movement. The final effect is a harmony of architectural strength and painterly freedom. Every stroke reveals a meticulous research into form and space. The piece concludes with a series of grounded, dark tones that anchor the floating spheres of color.
For Jose Ignacio Suarez an abyss of time and space distances him from those who were the first inhabitants of the Brazilian coasts and of this vast American continent. His initial language is two-dimensional painting, acrylic on canvas, observing the forests that survive in the city. Lycuris trunks, foliage, bamboo forests. Organicity and geometry in a living palette that longs to break barriers and travel through spheres of other rhythms, to live other years. Vegetation is a constant theme for the artist and appears here as an element of reframing. Introducing now the human figure with so-called protagonism, his paintings announce an anthropophagic act in which finally, the flesh returns to the forest and the forest returns to the flesh.
From the Matas series.
Acrylic on canvas
Presentation
Son of Cuban parents, José Ignacio Suarez Solis arrived in Rio de Janeiro during his childhood, settling in Bahia in 1974. Between 1987 and 1993 he studied in the United States, initially in New York and then on the West Coast, where he graduated with a B.A. Architecture from the University of Oregon. In Copenhagen (1990) he had contact with drawing and watercolor, starting to produce journals of sketches. He participated in his first exhibition in Oregon, in 1992. His first architectural project (1991) was the residence of the country, on the escarpment of Baía de Todos os Santos. In 1994, the artist settled on a coffee farm in Chapada Diamantina where he developed the practice of drawing and painting with greater regularity. A regular at Carybé's studio, he was influenced by sculptural practice involving the use of beaten iron. As an architect, José Ignacio was a project manager in the hotel sector, carrying out several transits throughout Latin America - which allowed him to improve his research and greater circulation of his work, integrating private collections spread across the places where he dwelt. In 2004 he did an artistic residency in Helsinki, Finland, redefining the use of your palette. Reinstalled in Salvador in 2018, the artist carries intellectual concerns that lead him between the affection for continental geography and the nostalgia for a destination. His investigations into the mythological imagery of indigenous matrices poetically translate into deities painted on canvas or sculpted in wood, stone, and iron.
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