Sérgio Fazenda Rodrigues

Entre / Between

Jorge Santos trabalha em torno da maneira de olhar, ou do modo como a imagem se define partindo de quem a observa. As imagens que constrói surgem do reconhecimento da figura e do seu caminho para uma abstracção, mas também do equilíbrio que se gera entre uma bi-dimensionalidade gráfica e uma tri-dimensionalidade ilusória. Nesse processo, convoca-se a empatia do observador e, com um olhar atento e contemplativo, o que se fixa torna-se passagem.
Ocupando uma das salas de exposição do Colégio das Artes, Jorge Santos apresenta três obras que se encadeiam numa leitura conjunta. Num recinto paralelepipédico, marcado por duas largas colunas descentradas, gere-se um diálogo entre duas formas de entender o mundo – aquela que se reporta ao crescimento espontâneo das coisas, a que o seu trabalho alude, e aquela que se remete à ordenação geométrica das mesmas, que marca o local onde intervém. Mas o dialogo que Jorge Santos incita não gere os antagonismos de uma visão maniqueísta, não sendo, por isso, directo, ou linear. Cuidadoso e inteligente, é antes fruto de um delicado equilíbrio, onde os elementos nem sempre são aquilo que aparentam ser.

Trabalhando sobre a percepção e sobre a forma como algo se descobre, Jorge Santos está atento à relação entre o que o permanece e o que se ausenta. E centrando-se na passagem do tempo e no revelar do outro, as imagens que constrói promovem um grau de ambiguidade e um estado de transição.
Repare-se no exemplo da obra Suspensa no fio, que ocupa parte de uma parede lateral da sala. Aí, temos o desenho de uma folhagem que denuncia a existência de qualquer coisa que a suporta, mas que não se vê. Por outro lado, aquilo que o artista torna visível uniformiza-se numa mancha negra e ganha a expressão (gráfica) de algo que se observa em contra-luz.
O fio, que é uma linha disposta pela mão do homem, é quem suporta e sustenta o crescimento da vegetação. Mas o fio é também aquilo que, viabilizando uma presença, se torna ausente. Note-se, ainda, que é no recorte dessa ausência que se demarca a forma que o fio adopta.
A folhagem, que tem um crescimento próprio e não é estável, é aquilo que ganha corpo. Mas no corpo que assume, desenha-se apenas o contorno de uma figura que, na verdade, é um eco de si própria. É um eco, não apenas porque resume a sua presença a uma silhueta, mas porque guia a nossa atenção para o que está mais além. Então, entre presença e ausência, visibilidade e sugestão, o que Jorge Santos desenvolve é uma ideia de passagem, ou algo que opera sobre o limite e a manifestação das coisas.
No seu trabalho existem sempre dois locais – aquele onde permanecemos e aquele que surge mais à frente. Como no cinema, a ligação que se estabelece é feita por uma relação entre planos. Uma relação entre a figura que recorta um limite para o espaço onde nos retemos, e o fundo que promete uma expansão para o espaço que se adivinha.
Tome-se como exemplo a outra obra que é apresentada na exposição, Recorte #1 e que se dispõe na parede oposta. O diálogo que agora se estabelece, entre o suporte e o que nele se inscreve, acontece pelo corpo mas, também, pela cor. Existe, aqui, uma velatura que cobre a parede e nomeia a base sobre a qual se apõe uma tela. A tela, que prolonga a cor e invoca a mesma temática, acentua o lado gráfico do conjunto e problematiza, de outro modo, a continuidade com o que está ausente.
Na verdade, no vazio que antes se delineava por um fio, existe agora uma vibração cromática onde nada ainda se desenha, mas onde já tudo se anuncia.
Quem observa está cativo de um instante, entre o ficar e o seguir, como que simultaneamente escondido e atraído pelo que à frente se anuncia. Dir-se-ia, então, que é a relação entre o que vemos e o que não vemos que alimenta a expectativa e gere o encantamento. Mas isso decorre, também, da posição em que Jorge Santos nos põe a olhar.
Respondendo a uma visão frontal, ao encontro do que se coloca perante os nossos olhos, Jorge Santos não privilegia uma perspectiva altaneira, de cima para baixo, que domina o que se vê, nem um olhar submisso, de baixo para cima, que se deixa esmagar pelo que observa. Nas suas obras demarca-se uma visão que está ao nível do horizonte, que funciona em profundidade e que, atravessando a superfície, perscruta a imagem.
Enquadradas entre as duas colunas e integrando-as como um outro ponto de referência, ambas as obras gerem um campo de acção que é pensado especificamente para o local. A distância que se reclama para a leitura de cada uma coincide com o lugar das ditas colunas e, para além do enquadramento que se define, cria-se também, entre elas, um ponto de encontro ou de complementaridade.

No topo da sala surge uma terceira obra, de nome Interstício, que se apresenta num monitor de televisão e desenvolve este diálogo ou encontro. Aqui, a figura e o fundo não estão estáticos e são particularmente expressivos na construção da imagem. Mas estando presentes, estão também ausentes, pois não têm um corpo físico e são apenas variações de luz num ecrã.
Na relação a que aqui assistimos é o movimento da folhagem negra, no primeiro plano, e a subtil mudança da cor, no plano da base, que estabelecem uma ligação quase hipnótica. E desse modo, com maior intensidade, sublinham a existência desses dois lugares – aquele onde permanecemos em expectativa e aquele que, mais além, nos seduz e alicia de forma encantatória.
O artista estabelece, assim, a articulação de três obras que se ligam num dialogo sobre o tempo e o espaço. Um diálogo subtil, sobre a (im)permanência e a ideia de passagem, que habita cada obra e marca a relação que estas criam com o local.

(Depois)
Jorge Santos desenvolve uma ideia de paisagem que não se define de forma corrente, ou tradicional. A imagem é quase sempre um foco, ou um excerto de uma entidade maior, que se trava lateralmente para se libertar em profundidade.
Assim, a atenção recai sobre algo que centra e detém o olhar, mas rapidamente evolui para algo que, de um lugar para outro, nos absorve. Essa outra paisagem, que não é panorâmica, mas sim de transposição, não é fruto de uma observação e de um reconhecimento colectivo, mas sim de um espectar e de uma percepção individual. Então, o comprometimento que aqui se reclama questiona a natureza do olhar e, de modo atento e contemplativo, foca-se num caminho entre a superfície e o fundo, ou entre o que está perto e o que ao longe nos chama.

Sérgio Fazenda Rodrigues


Filipa Oliveira

The world appears to her reflected by pure inwardness

There is a line, a border, which separates us from our neighbors. Be that in the form of a fence, a gate or a simple door, it establishes an irresolvable tension between demarcation and common space, between private and public. It conveys a sense of security and comfort but at the same time of division. A line that, in the American poetís vision, makes whoever is on the other side (and ourselves as well), and exactly because they are on that other side, good neighbors. This invisible limit, taking on different appearances, is a central element in the exhibition (and in the artistís thinking). It materializes as a brick wall or as a couple of closed gates. In keeping with the metaphor of he apparently familiarity, Jorge Santosí work is traversed by a (suspicious) simplicity, which translatesin the economy of colors and forms used and even in the number of exhibited works. There is almost a feeling of emptiness woven through each work placing them in the verge of disappearance. Santos chooses ordinary things to inspire his work, and much of what is presented originates precisely from his wanderings around Spike. In a complex and sophisticated world, we often loose sight of its inherent simplicity. By creating pieces infused by a sort of a ghostly romantic minimalism, the artist embodies Proustís famous concept of mÈmoire involontaire. Developed in his novel In Search of Lost time, particularly in the famous ëmadeleine episodeí, the author describes the way in which memories of the past ¿ood the present by the simple tasting a particular cake. An analogous effect is sought through the works of Jorge Santos. Located in the geography of the everyday, they act as cues to recollect the past without a conscious effort.

Their simplicity is nevertheless misleading as they create a violent but subtle øssure, which displaces the viewer by destabilizing the familiar. Through the use of repetition, Jorge Santosí work locates itself between boredom and confusion, order and chaos and thus disturbs the smooth surface of daily existence. A further theme permeates this artistís work: domesticity. The house, epitomizing an uncanny synonym for inwardness, becomes a metaphor for the duality interior/exterior. Santos acts both on both sides of this fold. On the one hand, an unapproachable exterior symbolized through the closed gates, the sharp threatening fences, and by an imprisoning wall. And on the other, by a mutating wallpaper which encapsulates the idea of an incarcerating interior (and which evokes the 19th century short tale The Yellow Wallpaper by American writer Charlotte Perkins Gilman). Nature is woven through most of the works. If at ørst glance it resembles a melancholic romantic gesture, at close inspection it acquires an aggressiveness resulting from a sort of a silent but brutal inøltration within the most basic structures of daily life. The presented works establish themselves within a language that Santos has been developing for the past years, in which, transparency, re¿ection, light and space are key pillars.

Filipa Oliveira


Virginia Torrente

The workshop: take 2 (night)

The night rains a strong attraction over Jorge Santos (Silves, Portugal, 1974), which he uses in the most cinematographic form possible. The technique and lighting applied to his works, transform his pieces into scenographies that take place in imaginary spaces perfectly thought by the artist. Like a film director who adapts to a low budget, in the works of Jorge Santos the imagination works to the limit, so as to adapt his works to existing places, from whith he takes the most fitting: a piece is played on to a screen in an abandoned cinema, a video is projected on the staircase of a shaby residential building, and even a window are used to activate cinematographic mechanisms which resolve always – in-situ – with masterly technicality, imagination and cinematographic narrative references, which the spectator both enjoys and is grateful to recognise. They are small but great pieces, which have their own life outside of that moment and that place, for which they were created, because their poetry holds us, even in the aseptic space for an exhibition. And there is nothing better than to have the possibility of seeing his works in a temporary studio in Velázquez’s house, that we could even say was made for him. Thus on this occasion playing with the space available, Santos presents a piece on the floor, inside and outside to the studio. Black puddle and abstract map, Tragaluz shows us, with physical coordinates, the poetry of the artist, a synthesis of problems in space and lighting that interest him.

Virginia Torrente


Juan Jamon Barbancho

VIEW POINT

Within the generic project Taller Ocupado; Jorge Santos presents the installation Viewpoint in “Jornadas de Puertas Abiertas” at Casa de Velázquez.

Santos usually uses his working space as an element of his discourse. It is a mobile and permeable space and it is not a rigid space, which creates frontiers and bars the ways. In his video installations, the projection surface allows for a continuous movement – added to that of the projection itself – making space extend beyond the work. This is what happens in pieces like Night Shadow or Estore Projectado.

Continuing with this customary dialogue in his work, he proposes a intervention in his studio at Casa de Velázquez, where he intends to let what is exterior come into is interior and by so doing reach a transmutation of locus: when it is within it is without and what you understand as within and without. If in his previous intervention he made the garden come in by way of the trees reflections on the spectacular surface of Tragaluz, now the spectator feels as if he’s in the garden surrounded by a white picket fence.

This proposal as in almost all his works is a site specific where the author’s usual workplace and living space are transformed into a kind of hortus closus. He makes us enter his own space, his own spatial and conceptual perception of the piece of art. Thus, Santos searches for a way to establish a reflection about the place, use nature and create a public work of art in which the fundamental, what truly matter from the creators work, is a relationship that is created between the work the spectator. A relationship of enrichement and mutual respect. That is why the work itself without its public is unfinished, it will only be complete when the visitor can experiment the several emotions that this unpolluted white space transmits them as well as the feeling of being within this delimited zone, not by the surrounding walls of the building, but by the garden fence. Thus he, intentionally, keeps away from certain (and dangerous) art market trends, whose social apex replies to the economic needs imposed by the consumer society, which has nothing to do with the social needs that art is aimed to satisfied.

Juan-Ramón Barbancho
Graduate in the History of Art
Critic and Independent Commissioner


João Pinharanda

FLORILEGIUM or THE FLOWER SEASON

From a play on the countless variations of nature and plant images, the artistic work of Jorge Santos develops, quite intensely, on the sense of the natural world itself or, better still, on how we relate to it. The way this discourse isn’t merely grounded – by its proposed status as art – in a dimension of artifice, but instead highlights artificiality, is thus essential to our full understanding of Santos’ work.
Jorge Santos gives his images an immersive stage design character: because he strives to make image scale and model scale coincide (or brings them as close as possible); because he reproduces directly (by tracing and projection) the selected shapes onto the real world; because he takes us to establish a spatial rapport with these shapes. Therefore, leaves and branches, the reflections of these these leaves and branches, the irregular surfaces created by the vegetation’s shadows and reflections on puddles and walls, or their outline in the skies, eventually end up relating to us, viewers, on a common ground: our real body meets the paintings and installations’ hyperreal body in the exhibition or living rooms where they are displayed.
This immersive dimension becomes sharper when we realize that Santos’ works are not, ultimately, so much about “things reproduced”, as they are things that, captured in a (d’après nature) dimension, are transported into another (artistic) dimension where they become ravaging images themselves.
In fact, by expanding these images in the spaces we inhabit (in huge canvases, delicate installations and/or projections, Jorge Santos creates a set whose destiny is to capture us viewers. This strategy is something more than a mere visually-surprising and misguiding trompe l’oeil; instead it is part of a continuous seduction strategy, ultimately achieved in the pleasure-in-seeing and being-in-what-you-see. He creates scenarios of a possible joie de vivre; but their fragmentary successive disposition (always as frames of a wider and never fully encompassing reality), discloses their unavoidable fate of melancholia and incompleteness.

LIFE IN THE WOODS

One can observe in the works of Jorge Santos the expression of a will that materializes itself as a simulated will to systematize nature. This agenda puts him in the role of both dweller and creator of a collector’s labyrinthine universe. Jorge Santos puts himself as a collector of leaves and flowers (a builder of florilegia or herbaria) or, figuratively, as someone who selects for an anthology that could as well be literary but here is of pure visuality.
Nevertheless, Jorge Santos is a classifier who boycotts classification systems. First, instead of collecting natural specimens (leaves and flowers) for his herbarium he just records and reproduces their images (by photographing, projecting, and painting them). Because of this mimetic approach, everything seems to remain “the same” but the real models are in fact disguised by the radical change in the whole chromatic and volume verism.
Let us imagine the artist putting us before some forest trails and providing no instructions on how to take them, or on how, when actually taking them, to possibly formulate the questions triggered by our presence in the world, or ourselves-in-the-world. Suddenly, the only thing we realize is that this forest in which he immerses us suddenly bursts into colour, that it leaves us restless, that it denies us a place in it.
Jorge Santos forces us into a natured nature, meaning, a represented nature; in fact, a nature remarkably made artificial by the aesthetic solutions used in the representation, especially by the bi-dimensionality of the outlined shapes and hyperchromia. This way, the life in the woods Jorge Santos is proposing becomes impossible, just as impossible as the construction of a retreat cabin. The understanding of Nature as an harmonious organism with which we should (re)unite in the bonds of primeval balance becomes unnecessary. It is never a mimetic practice, nor even camouflage, but rather the denial of the copy starting from the copy itself (the artificiality of the colour denies the truthfulness of the shape, the abstract synthesis of the shape denies the possibility of all naturalism). It is not about naturalizing art, but rather about making Nature artificial.

FLOWER WISHES

The shape issue and the colour issue are essential to the whole process. If the work of Jorge Santos has always made reference to the plant world, that work has seldom taken him to the floral. This is yet another clue towards the radicalism of his decorative démarche: the formal amenity of flowered gardens emerges in his work taken aback by the bleaker, less complex, thicker figure of the leaves (and/or the forest’s). The colour burst of his images does not come as a representation of any kind of bloom but as a decorative artifice for the foliage. It does not come as flowery delicateness or sensuality but as a decorative provocation. The fact that the hyperchromia we have mentioned resolves invariably in bi-chromia stresses the existing abyss between reality and the work of art, between shape and colour, between the painted surface and the space around it – the chromatic harmony reached by each of the selected colour duo is not delicate at all, but virile, it may be hysterical but it can never be histrionic. There is a flower wish in each and every composition completed by the colouring of the shapes (the leaves) according to abstract and yet related criteria (contiguity, contrast, opposition, tone proximity…).
It is in the way he represents this foliage that the full understanding of Jorge Santos’ work is played.. The illusion of outline is also another visual strategy being served by the drawing-painting exercises. We have already seen that these shapes are pure bi-dimensional ones: the leaves have lost the representation of their texture and nerves in order to become outlined surfaces or just traces – just as the paper cut silhouettes made popular by German Romanticism; or the shadows recorded in multiple crafts by Lourdes Castro’s able hands ; or, yet still, the plants, flowers, stars… coming to life from Matisse’s sick hands in craft paper. Just like in some of these examples, in Jorge Santos’ compositions we are unable to sort out what is shape and what is background. The artist stresses this difficulty further in those where he highlights (using colour or matter or both) the backgrounds, making them autonomous shapes. On one hand, skies or reflecting pools in contre-plongée in the wood clearings, or in plongée in the fractal limit uncertainty of a rainwater puddle, are shown as framed by foliage and take centre place as full figures of the representation. On the other hand, this is a way of evening not just shape and background, but also high and low – an easily reachable point and an unreachable one become united by a perfect vertical line and can even exchange places if we look at the sky on a puddle. Colour is an exaltation strategy that does not abide to any syllabus or pre or post Newtonian lesson, but rather to an empirical experimentalism where he puts together good taste and provocation.

RED ROOM OR VIOLENT SPRING

Once we see the work of Jorge Santos (painting, “installed” painting on a retro vertical window blind, catalogue, “sketchbook” with shape and colour studies) we understand that all and any plant nature tour we may possibly take through him will eventually lead us back to an indoor space, one which the artist may have never left after all, and to which he most certainly wants to lure us. The artificiality (by excess) that we have been commenting on is part of a two-folded strategy: capturing the exterior onto the interior; in the interior, using the (setting) exterior to capture the viewer. Colour play creates tension points between Mondrian’s floral symbolism and Warhol’s flower disengagement. Notwithstanding, the all-encompassing character of his images in space, and creating new spaces, can be understood in a set design mode undertaking the decorative tradition of symbolism from William Morris onwards. Jorge Santos’ images tend to create the illusion of wallpaper application, and even though the essential pattern repetition and complete coverage is never accomplished, it remains there as a wish.
From all the different solutions presented by Jorge Santos in these works, I indulge myself in imagining just this one: a precise colour, a precise use. And I feel like making it the colour of a room. I have always felt, ever since adolescence, this obsession for a Red Room, a room I have entered very often, looking at the things that live there, touching them with curious eyes. A room in which I have lingered, excited by the intense red and the things drawn on it and in it. Across the whole surface of this painting by Matisse (dated 1908 and known as “Harmony in Red”), making no compromise with three-dimensional space, a repetition of a flower motif (stylized branches surrounding a flower basket) simulating a pattern, an uneven one, spreads across the whole surface. I have always nurtured the possibility of inhabiting this room, as if I could live inside a painting, even one that mocks spatial illusion, forcing everything into being just a drawing and an outline – like that chair, the table, the objects and fruit on top of it, the lady leaning over, or even the elements in that landscape opening inside a window where Euclidean space is also denied. In that agreed “outdoor” there is a quiet promise of Nature, but it is the red interior’s Violent Springtime that seduces me. It is possible to inhabit a room and in it to travel the world because, as Xavier de Maîstre has so well explained, the world can fit in a voyage around our room: a voyage of opposites around a world of pleasure and pessimism, repetition and rupture, of beauty and the unconscious.

João Pinharanda

Lisbon, February 8th, 2015


Joana Consiglieri

O “sentir” voltou a ser uma questão para nós. O empirismo o esvazia de todo mistério, reconduzindo-o à posse de uma qualidade. Só o pudera fazer distanciando-se muito da acepção comum. Entre sentir e conhecer, a experiência comum estabelece uma diferença que não é a existente entre a qualidade e o conceito.
Merleau-Ponty. (1999). Fenomenologia da Percepção, p. 83.

O «monocromo» nas pinturas da paisagem tinha-se tornado um modo fenomenológico de percepção pictórica, mesmo que não fosse universalmente admirado, quando surgiu a partir dos anos 1950-60 com a art minimal. Todavia, trouxe profundas modificações na percepção estética da Arte Contemporânea. A fronteira entre a cor monocromática e a memória compositiva da paisagem deixou de ser absolutamente clara. A mudança na ideia da pintura como ilusão do espaço, segundo uma superfície dura ou lisa, ou embutida em duas cores, constitui um novo processo operacional estético na fenomenologia da percepção.
A paisagem de Jorge Santos, intitulada Bucólico, caracteriza-se por esta experiência fenomenológica da pintura minimal, na medida em que cria a opacidade e não a transparência, num processo concebido e vivido entre a cultura urbana e a natureza. O artista plástico apresenta uma série monocromática laranja, em que o negro surge como contraponto, numa inversão da cor, que produz uma reorientação do processo estético, abandonando, assim, o fundo como a escuridão e a natureza como memória. Esta descentralização da perceção começa com a incorporalidade do observador, originada pela relação entre corpo e espaço, ser e paisagem. De salientar que este conceito de “observador incorporado” surgiu com os artistas minimalistas, entre os quais destacamos Morris e Judd (Batchelor: 2000, p. 25), por despertarem no observador as contingências da localização dadas pela experiência do tempo e do espaço.
Nesta série, a incorporalidade revela-se. O observador tem a percepção do movimento na paisagem. Embora estejamos “exteriores” a ela, o artista coloca-nos na intimidade e no “interior” do campo de perceção da natureza, como se tivéssemos dentro dela. Desta rotação da perceção do campo fenomenal resulta o retorno aos “dados imediatos da consciência” (Merleau-Ponty: 1999, p. 90), isto é, o observador passa a corporalizar a própria paisagem, sendo a memória, o corpo que desenha a experiência do gesto, sendo a experiência delineada pelo significado entre o ser e o mundo sensível.
Bucólico expressa a nostalgia de uma poiesis idílica. Da tradição cultural ocidental emerge uma nova linguagem pastoril, com o intuito de cruzar a tradição campestre com o frenético e o impessoal citadino, e, simultaneamente, um passado idílico de um caminhante solitário com um presente urbano desfragmentado.

Joana Consiglieri
Lisboa, janeiro de 2016

Joana Consiglieri – Flower Ornament

The poem “Hymn to the Flowers” by Horace Smith celebrates Flowers, it sings of nature as spiritual experience. It pays homage to beauty, life, the creation of Earth and the Universe.

Flower Ornament, a series of golden monochrome work by Jorge Santos is another celebration of Nature. A fleeting fixation of the moment. They capture nature’s immaterial forms, perceiving the essence of the-thing-itself through the material form of flowers. They become ceremonial acts consecrating life’s small details. Flowers emerge from a veiled intimacy. Santos perpetuates the sacred through repetition but in any selected image from his monochromatic golden series, there is a feeling that we are appreciating the details of the natural world.

While gazing at the spirituality of the gold we are reminded of the work of the artist Yves Klein, and his iconographic use of colour. Klein when working with gold leaf was fascinated with its fragility, attributing to it “life’s mystical and elementary cycle” (2004, p.69) as written by the German Art Critic Hannah Weitemeier when considering Klein’s monochromes, primarily Monogold from 1961.

As a contemporary artist Jorge Santos develops and expresses this continuity of gold’s value from its use in Klein’s conceptual art through the possibility of weaving it into a “vague beauty,” as put by Umberto Eco on the poetry of Giacomo Leopardi (Le Ricordanze – Canti, 1824). Santos contemplates, albeit in a different way, the golden iconography that almost fades into its background, unravelling a glimpse of the natural moment in a shadow. It is a testimony to another dimension of spirituality, which existence is manifested by the immensity of the field in which we walk.

Flower Ornament places each ‘act of picking’ a flower into a worldly sign, making it perennial. A memento. Projecting it into an interior space; the house or the home. In this sense, the signs created by Santos expands from the outside into the intimacy of indoors, creating fleeting images that express the threshold of all things. This fleetingness, spawned by a phenomena between landscape and the urban, “not-being” and “being”, is present in some of his other works in a more legible phenomenological experience. Nevertheless, the subtlety of the gold shadow in space lets duplicity flow back into oneness. As Lau-Tzu affirmed:

In its Unity, this Oneness is a mystery.
The mystery of mysteries.
It is the gateway through which marvels enter.


Javier Rubio Numblot

Eternal love… I suppose that not even an artist that deserves such respect as Jorge Santos would be able to extract a word or phrase, let alone an article, about such a strange and haunting subject from this old hack… However in one of the most dramatic chapters of the work La máquina magnética (The Magnetic Machine) (2006), which proses over “the creation of the strict and abstract feeling, though total and maximum”, clearly the following can be read:

“There is something you should know: what you believed in,
What you fought for to build,
What this system did so that you could fulfill itself,
It is similar to that same system: it is made up of the creator’s matter which allowing him to create.

Yes, the work that you undertook is also like this
So, is it real or is it a mirage? Truth or a fraud?

Whatever it may be, it will not bring a comfortable conformity to the world,
Because she does not belong, to the world, but only to he who created her.
She will remind you constantly that you gave something to the world that is not from this world. Your work will come into shock with the world: she will never be part of it; she will never fit in because she is not obedient to anyone save yourself.

You are alone with her and she is alone with you. But no one can touch her, nor see her. No one can even suspect that she exists, nor understand her existence.

This is the value of I/You:
It be while you are.
You will be able to make of her due to her everything you desire.

That’s why you should know
That, even if you were to abandon her she will continue only for you while you are still you.
When she make it’s you that make her do so
And everything that happens only you can make it happen.

And so, just as we can read in chapters further on, “the work is like a stick jabbed into the water : the ripples that it produces effect the future, but also the past”, for this reason such creation is, by definition, omnipotent and immortal. Thus we deduce that, effectively, the creation – artistic creation or if we may say – eternal love – for instance, evoked in Johann Philip Krieger’s poem (1649-1725) that presides over this meeting – it is possible in practice, even though I am unable to forget my ignorance and lack of craft, I would always remember the artist that the immortality of his works (the painful Solitude demanded in its conception as well as its future use) are poorly linked between the artificers real condition that is perceived as perecível, frail and imperfect. Thus, he tends to confuse himself with one of the Others, and doesn’t see his own either.

Javier Rubio Nomblot

Note: The phenomena of fragmentation (which elude to the expressive title of the series, Fragments of Love Songs) and the regrouping which effect Jorge Santos’ works, already hinted in his initial works such as Árvore (Tree) (XXXX) or Sombra (Shadow) (1999) and his leaning towards cut forms – Tragaluz (2005), sculpture exhibited in this same Taller Ocupado – or silhouettes and irregular contours – Now the Night is Closing in (2003) –, clearly show that his process has a wholesome character .


Antonia Gaetta

Olhar para cima

Olhar para cima e ficar cegos para depois acostumar pouco a pouco, o nosso olhar à luz. Finalmente a marquise como recurso para projectar sombras e proteger-nos dos raios solares. A partir deste momento, distinguimos o perfil das folhas, os ramos frondosos movidos pelo vento e os desenhos ou as manchas que eles compõem.

A marquise da qual Jorge Santos fala e que dá o nome à exposição, não é uma área de serviço envidraçada em casas e apartamentos, mas é uma estrutura que proporciona protecção, acesso, ligação, um dentro e fora ao mesmo tempo, um elemento arquitectónico característico do modernismo brasileiro.

A linha de trabalho que o artista apresenta para esta exposição, implica uma visão que é juntamente vernacular e cultural. Quer isso dizer que o seu processo de reconhecimento é proporcionado por uma intensa ligação a estruturas flexíveis de construção, de uso e imersão nos sistemas reticulares e orgânicos da arquitectura e da paisagem. As paisagens, a perspectiva ou tudo aquilo que o olhar abarcar, permitem outras viagens para outras superfícies e outros mergulhos em experiências sensíveis.

Tendo em conta as regras geométricas da construção da perspectiva assentes por Leon Battista Alberti no tratado De Pictura (1435), e a celebre metáfora do quadro-janela, Jorge Santos faz uso da superfície – em forma pictórica ou enquanto vídeo instalação – como se ela fosse um diafragma no qual a tridimensionalidade real traduz-se numa ilusória imagem bidimensional.

A analogia referida entre o quadro e a janela, surge relativamente à concepção mimética da pintura, que nas teorias artísticas modernas assume um valor cada vez mais articulado e complexo.

O trabalho de Jorge Santos move-se a partir destas preocupações. As pinturas de grande e pequeno formato assim como o vídeo são aberturas que, na sua semelhança a modelos arquitectónicos, mimetizam janelas ou remetem para elas.

A janela, na obra do artista, abre-se para o interior da mente, sobre outras dimensões, em direcção a territórios do imaginário ou acolhe no seu enquadramento, inéditas invenções plásticas e formais. E assim a superfície, no espaço definido pelas suas margens, permanece janela, com ou sem moldura.
E ainda a cor insinua-se para criar a condição de percepção, para possibilitar e empurrar-nos para um mergulho em direcção ao desejo do artista.

Este que Jorge Santos nos proporciona, é um mergulho literal e não apenas metafórico. O artista convida-nos a reflectir sobre o processo de execução e a fixação do tempo em forma de paisagem, bem como sobre o cuidadoso equilíbrio que se estabelece entre o sentir e a sua execução formal. A obra do artista deixa-nos num silêncio consolador e é ao mesmo tempo, pausa e descanso no vórtice perceptivo, um espaço para pensar, um lugar sensível à espera de ser descoberto em todos os seus pormenores.

Antonia Gaeta
Lisboa, Junho de 2014