DRAMA DREAM

The Luminance of the Pitch

At some point, life offers us an encounter alone, in the dark of questions that inhabit what was, what is and what we project. An inevitable throw of the dice makes a before and after, the cut creates the ballast of a new consciousness. Bruno Vilela subverts and provokes this encounter, through a ritual of confrontation: he goes to the pitch black to extract luminance and color from there.

Saint John’s mother lights a fire to say that her son was born

Thus, she creates a space of confluence, where her writing vibrates in the dream and echoes the reverse of herself. Je est un autre. There and here they awaken planes and layers in serigraphs and oil. Beasts, beasts; gods wake up the unidentified flowers the reduction of the ornament. They are the fruit, the shoot, that which sprouts.

In the series that narrates the exhibition, purple; fuchsia and yellow emerge significant, echoing what erupts after the Achilles heel accident. What does it need to break in order to sustain itself? It is in isolation; in the eye that looks at the child; in the embodiment of the mantra; in the encounter with the flesh of the gods, that walking is reintegrated.

I am and I am not. An awareness expands. The fish becomes the shoal

In Archeology of the Unconscious, the killing scene can also be copulation. In Kali, what disturbs also carries hands in the belly. In O Oracle da Noite, the dracula that leeches the representation, is among the cradles of civilizations. In Vishnu rescues Oxum, support frees the wisdom of the feminine. In The Theosophist coal is to yellow.

At the age of 25 I saw a yellow ipê and that epiphany marked me…

William Turner’s last words were: God is the Sun

The image of the hermit, who lives in the wilderness with contemplative and spiritual purposes, resizes the ritual of confrontation. I just did what I did and I’m talking here because I isolated myself. As well as the symbol idea. For Vilela, they are the symbols that bridge the project to the process.

Etymologically, the word symbol expresses the act of taking what is kept. One of the representations of the symbol is the joined hands, forming a concavity, in a gesture of offering, donation. The hands as a symbol of all symbols, as coverings of meaning, or even with Schneider and dear to Vilela, the hand as a bodily manifestation of the inner state of the human being, indicating the state of mind, when it is not manifested through the acoustic path.

Ticiana Porto

Sao Paulo, September 01, 2022

Bruno Vilela
1977, Recife – Brazil

The artist’s poetics, which has been refined for more than twenty years, is known for its repertoire of symbols, myths and archetypes that combine nature and culture, intending different a priori categories, in search of magical thinking. Gathering images from various cultural manifestations, Vilela creates his own lexicon, with nature as a constant protagonist. Jaguars, dense forests, dense tropical forests, foliage, rivers and boats invite us to an immersive experience. Faced with his painting, we sometimes question the notion of historical time, as if the narrative was situated in a supposed “primordial state” of the human.

It is also necessary to situate the artist’s work within issues dear to the 21st century, such as the collapse of the western civilization model together with the intense movement of revaluation of knowledge and technologies of traditional communities. From the experience of uninterrupted catastrophes and multiple failures of the modern project, we question the privilege of science to the detriment of other models of production of meaning. I believe that Vilela’s work is guided by this perspective, since it brings to light a set of dissident references, such as Afro-Brazilian religiosity and Amazonian myths. Pollyanna Quintella.