The essence of paintings by Celso Orsini could be defined by the above epigraph , taken from the beautiful text written
by Agnaldo Farias for the exhibition of the artist displayed in the gallery Valu orea in 1998.
Working with acrylic tempera , and therefore, with water as the basis for his painting , Celso Orsini builds her paintings through a
broad brush that lay the paint with broad horizontal gestures . On these screens, brush strokes applied in thick tissue - approaching
the texture of the paintings on the walls - the artist presses sheets of paper several times , forming rectangles neatly spread over the
surface of the screen.
This surface is then worked, either through the deletion of some gestures and marks, either through new brushstrokes applied with
brushes loaded with paint tone ocher , black , yellow , red, white , reminiscent of other paintings ( the brushes and ponds where the
paints are mixed are never cleaned , since the action of time is a crucial part in painting Orsini ).
Still on the surface , the artist paints or stamps pictures - again using the newspaper as support for the stamp - distributed so as to
provide balance to the composition. Although the facts are baroque , the distribution of elements on the screen , applied through
Mobula ( Stamp ) is a constructive action.
The result are paintings of character ethereal , almost dreamlike , where the forms - which refer to images of details of Baroque
architecture - floating on a surface constructed by means of modular brushstrokes and marks left by the newspaper stamped on the
surface still wet. Thus, two legacies of contemporary Brazilian art live side by side: the baroque and the concrete.
The baroque heritage comes from the origin of the artist, born miner Itabira - also birthplace of Carlos Drummond de Andrade - who
spent his childhood amid the baroque architectural elements such as iron railings and typical local objects made of soapstone .
These elements are present in the canvases of the artist , sometimes by means of arabesques reminiscent of the fences and gates
of old houses , sometimes by means of figures that resemble golden laurel leaves , sometimes through drawings that refer to fonts or
pots. The surface treatment , worked over and over again , through overlapping layers of paint and then by removing them, to
achieve the desired result could also be a reference baroque.
Heritage Concrete comes from living with the contemporary artistic production in Brazil , mostly based on the concept of building form
and thought to perform the work. While Celso Orsini admire artists like Cy Twonbly , Ross Beckles , Nuno Ramos and Tunga , it is
remarkable the presence of an Amilcar de Castro or even a Volpi in the construction of their work.
REJANE Cintrão
The New York Optimist
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Celso Orsini
Presented By Regiane Yuki Sabanai