Carlos Saraiva Biography
Carlos Saraiva The mental landscapes The Spanish master Pablo Picasso was already warning that 'The art becomes a lie that makes us see reality.' In a few cases the maximum is as true as the painting of the Portuguese Carlos Saraiva. In his paintings, the reality is just the starting point for a pictorial and visual distortion that forces the spectator to see the surrounding world with new eyes. In this process, when the observer takes the screen eyes, realize that the slice that captures the world is very small. Only expanding your senses, as occurs through art, he manages to capture the dream and fantasy filigree in a world that so often proves difficult and insurmountable sensitivity and intelligence. Born in Lisbon, Portugal, on September 9, 1957, Saraiva, the son of an official of the Portuguese army, traveled by lusas overseas provinces, until the death of his father in 1967. He accumulated so three years passages in India and five years in Angola, and periods spent in Egypt, Guinea Bissau, Cape Verde and Sao Tome and Principe. Saraiva still traveled by the United States, Finland, Spain, France, Italy and Tunisia, accumulating a wide repertoire. Although showed talent for drawing, he confesses that he never thought of becoming an artist. Maybe this was why his career began only in 1982 in Portugal. Eight years later, he married a Brazilian, going to live in Brazil, in Mogi das Cruzes, SP, definitely, since 1995. In addition to his work with the inks, Scott is professor of martial arts (Karate-do) . 'It is my philosophy of life. I try it the balance and the necessary energy to all my conduct and my artistic career, especially with regard to creativity,' he says. In the first exhibition, when the artist had a more figurative work and with great appeal to issues related to nature, he had the biggest supporter playwright and novelist Portuguese Romeu Correia, who wrote: 'The green and brown are always present in your work, remembering the affection for the plant kingdom and the motherland. ' Correia Saraiva defines as 'creating more mental landscapes that observed'. The statement remains current, although the artist today performs a more conceptual work, rooted and lived by personal experiences, usually brought to the screen gestures and quick brushstrokes. 'Discharges are issued at random times. There is no pre-defined projects and the fluidity of traits is targeted for completion by encouraging' he says. 'As I'm painting, compose the colors and lines, looking for a satisfying harmony.' The very Saraiva relates his brushes with other arts, such as music. 'I assume that this process is similar to that experienced by composing music,' he says. And also with the literature: 'After completing the work, do a re-reading of the work and almost always write something about what I did.' Springs all this artistic commitment to quality, the beauty and the expression a contemporary style, which Saraiva calls 'gestural expressionism (figurative and abstract pure)', whose primary objective the real simplification in search of essentials. Fixed is thus a critical stance against the real, which rejects any simplistic. Saraiva himself recognizes three stages of their work. Initially, figurative and precise, with the copy feature, moved to a representation of nature, with emphasis on color and movement and emphasize the plot and techniques. Currently, the trace of the artist, more loose and spontaneous, captures flashes of experiences and most remarkable occurrences, and allows a larger process of research and experimentation. Saraiva art secret lies in its power to always add something to the image or feeling that is the starting point of his work. In this process, let aside what is easily seen at first. Search is a dip in daily life and, therefore, to generate an interaction, it is essential to offer something extra. An example is the Nostalgia screen, which received the Trophy Lucio Bittencourt 2000 by Latin Culture Society in Brazil. The sky, yellow, with a vibrant sun, the mountains speckled green and brown traces of the three colors, suggesting the existence of a city with some wooded areas, compose an original image of a landscape, forcing the viewer to reflect about what you see. The table displayed in the Upper Tietê Biennial, held at Memorial High Tietê in 2001, an event that brought together artists from cities as Mogi das Cruzes, Suzano, Guararema, Arujá, Ferraz de Vasconcelos and Poa, reveals the talent to make Saraiva seemingly simple and saving images in dense reflections on being / opinion. The naturally present in Saraiva screens corresponds to Picassian ideal to carry observer arts to new stops through images. For the Portuguese artist, called real and emotions are the theme of a far more important world that lurks between appearances. Each frame is a mental landscape that creates new dimensions of analysis. What's on the screen is not the referent concrete, but beyond. See the world through Saraiva traits is therefore dive into a new reality. Their colors and shapes always point to something else, to the door ajar to the grains of sand that escape between the gaps of the fingers. Thus point to the intangible and touch the essence of each of us. Oscar D'Ambrosio is a journalist, art critic and author of The brushes of God: life and work of naïve painter Waldomiro of God (Editora UNESP).
