Marta Traba’s Galerry
From 08th of May till 27th of May of 2018.
Classic pictorial gestures, strolling in modern and original curves, with a glance avant garde that goes from the academic traditions to the most inaugural aesthetics.
While pixels and bits are pulverized synthetically in the net in these new times in which the digital image lands in the palm of the hand, the pure glance with surrealist verve of Jeffer Zion materializes organically in an emotional chromatic demonstration and, at the same time, much needs the most elementary of all the human expressions.
There his references are in the Baroque Art and in the European Renaissance (chapels of the interior Paulista the frescoes painted in the time in which he lived in Italy), but molded to the Realism, to certain playful poetics and to a new intellectually movement: it of the empowerment of the minorities, be for ideological segregation, or for gender. There are aspects of enormous visual wingspan that there overflow of the built image, both in the choreography of the palette and in the dreamlike film of his androgynous curumins-cherubim, sacred mantles, landscapes, scenes of hunting, macaws, harbour porpoise , guarás, uirapurús and anteaters. In this Memorial Indian, the 34-year-old artist Paulista seizes the concave ones and convex ones of the Memorial Foundation of the Latin America, architectural complex drawn by Oscar Niemeyer (1907-2012) to request of an anthropologist-ethnologist-indigenist Darcy Ribeiro (1922-1997) in order that there wriggle the ellipses of the circular receptacle that you are ready exploring act one excavates neo-futurist, following the reverse way of the colonization while approaching the native communities of Tall Xingú. Through the walls and totens following, the artist proposes a virtual expedition for his affectionate memory that reaches the legendary inhabitants of this distant region of the recesses of the Mato Grosso.
Almost instinctively, of his immersion experience in the ethnicity, Jeffer metabolized the process of tribal canonization interpreting those individuals almost as divinities, in an opposite narrative to the predatory action of the catechization of the 1500 years. In the fabrics the oil on canvas or in the acrylic ones, preserving the memory from the raw materials, in the drawings in charcoal or India ink, in the alternative platforms that go from the rigidity of the metal to the delicacy of a murano, passing by the pottery of the farinheiras, Jeffer “tattooed” his reading graphics, symbologies, syncretism, ancestry and socialization in a future without differences. Not at random, it returned of there re-baptized by the Indians like Khahuetèni, name that designates “important person”. His spin for the universe transcultural of one of the most promising artists of his generation begins now. Allex Colontonio Jornalista and Curator.