Daniela Labra. Rede Concreta/Trama Orgânica. Publicado por ocasião da exposição na Galeria Arte em Dobro, Rio de Janeiro. versão para o inglês: Concrete Web/Organic Mesh – 2010 -
Luiz Hermano, the Ceará-born artist settled in São Paulo, presents his solo exhibition in Rio de Janeiro containing works, which draw on the desire to juxtapose signs of rational, concrete thinking to another more organic rationale, less tied to the inflexibility of the pure form. Far from the typical clichés, through the abstract geometry of his web-sculptures Hermano proposes a friendly argument about the complementary opposition between the supposed efficiency of São Paulo concrete rationalism and the sensual exuberance of the curvaceous Rio de Janeiro shapes.
What at first sight would signal a simple conceptual counterbalance between distinct operational modes, made explicit here in the somewhat rigid forms of the exhibition, is in fact present in every Luiz Hermano web-sculpture to varying degrees. This dialogue between rational construction and organic spontaneity is a characteristic that has run through the artist’s oeuvre spanning his 30-year career.
The countless structures of meshes and knots produced over that period, from all sorts of elements, are the result of the fluidity intrinsic to his creative procedure, which also involves an intellectual, mathematical side, contained in the ongoing act of gathering and selecting unthinkable objects to neatly stick together in soft structures. One must stress, however, that Luiz Hermano’s web-sculptures, although malleable, do not yearn for the phenomenology of a participative body, and are not, therefore, tactile objects – even though they are mobile and light enough to be easily manipulated.
The title of the exhibition Concrete Web / Organic Mesh, allows a subtle reflection on the legacy of Brazilian constructivism in the artist’s work. It is interesting to note that his sculptural, abstract and geometric art belongs, in a way, to the two antagonistic and complementary places that split the Brazilian concrete movement in the 1950s.
In Hermano’s work we can equally find aspects of the rational and impersonal nature of the São Paulo concretism, concentrated in the prevalence of industrial procedures and paints to eliminate traces of the author’s subjectivity, and characteristics of the Rio de Janeiro neo-concretism, which drew on the geometric form to launch a profound investigation into the experimental, organic and relational act in art.
Formally speaking, one perceives that his work continuously touches on the concrete versus organic dichotomy, using rigid materials to create flexible structures, at the same time rational and destabilizing of any Cartesianism.
Thus, Luiz Hermano reinvents a category of artwork. His abstract geometries are non-objects, which I have called web-sculptures here, but that could also have other names. The microcosms that he creates are actually concrete, organic and oneiric topologies, patiently built in meshes and verses, step by step, piece by piece, from sunrise to sunset.