Penna Prearo | Portal de Alice em Atlantis

Curated by Agnaldo Farias

A direct descendant of painting, this old and vigorous artisan practice of image production, photography was born of the impatience to capture or produce images quickly, confronting the speed with the speed of life, matching the present, reacting to the instant fixing it like a pin through a butterfly. Then along came cinema and with the parade of images we could keep up with and invent the flow of events. The process of producing narratives was perfected.

Painting, photography, cinema, are all props for expression, forms of language. Demanding coherence of them towards the world is misunderstanding what they are and, even less, what the world is, which only occurs from within us when we knit it into the webs of signification. Penna Prearo, among our most sophisticated visual thinkers, knows this perfectly well, and adds to his photography elements of painting and cinema, while exploring their intrinsic aspects and equipment and visual accessories related to his lenses, like filters, prisms, magical lanterns, kaleidoscopes, among other technical artifacts and toys, the same with which we, as children, reinvented the world, by looking through them.

But of all his broad resources, next to his remarkable ability to edit, creating confrontation and tension among images, color must be underlined, considering that, with Penna, it reaches possibilities similar to the lysergic hallucinations that Kubric achieved in the final segment of 2001 A Space Odyssey, upon entering Jupiter; or Fellini, for example in Amarcord, at the moment the iridescent green and blue tail of the peacock opens up under the white rain of snowflakes that cover the square and the boys, respectfully ecstatic, contemplate.

Penna Prearo is a constructor of narratives. A director who builds scenes, invents the unusual sceneries and situations for protagonists as unlikely as a tulle mosquito net, a wooden horse, the head of a classic sculpture, two bicycle wheels or trivial and unexpected objects and constructions like hydrants, a gatehouse or a termite mould, which the artist, on his relentless pilgrimages, perceives and treats as unusual, enigmatic, powerful characters, in their silent presence, like a cat crossing the street during the night. In this sense, his poetic, fed by rock ballads and a wide literary repertoire, figures as a diary of the wonderful, that he can bring up of a daily life that the sad and unaware assume to be ordinary.



Penna Prearo - Portal de Alice em Atlantis catalog

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