Katia Canton. Luiz Hermano: o metal e a liberdade. Publicado no catálogo da exposição na Ária Galeria de Arte. Piedade, Jaboatão, PE; e na Kolams Galeria de Arte, Belo Horizonte, MG – versão para o inglês: Luiz Hermano: metal and freedom – 1999 -

Luiz Hermano uses links of bronze, aluminum, stainless steel and copper as raw materials which are then put in series, organized, subverted, twisted and put together. The result is organic and metallic tapestries, which bloom from the floor, the ceiling, in the corners and climb the walls swallowing the physical space, in formal, powerfully conceptual and surprising dialogues.

Hermano does not identify himself with any particular school or movement, thus is it difficult to classify his work. He is an artist of synthesis. His current work consists of two principle ingredients: metal and freedom. Urban and regional, radically contemporary and conscious of the importance of tradition, he combines all of his experience and composes a group of works which evoke with precision and originality the “spirit of the contemporary age.”

In order to perceive this, one only needs to look at his cubes, made in series which repeat themselves, being connected with wires and hinges, which although geometric, seem to be organic and although stationary, seem to suggest and incorporate movement. Conscious of detailed, abstract heritage, his works, in fact, are a pure subversion of geometry. Forming networks of irregularities of volume, the shapes fit together, line up, they form chains which swing from side to side. They form screens of floating space, becoming moving fabric that is organized in an illusory way.

Manipulating geometry until it becomes flexible and tactile, Luiz Hermano’s constructions explore a serial sculptured form to the point that their most rigid aspects dissolve, and conceptually, they become a type of story.

One is not dealing with a story woven with narrative thread, having a beginning, middle and end. In the art 01 this last century, after the heritage left by abstraction and readymade, telling a story is full of all these legacies, incorporating in them a altitude turned to meaning, the content, the cross-cut weights, which bloom from the very arrangement of forms constructed by the artist’s hand.

Therefore, in his abstract, metallic, almost geometric sculptures, Hermano articulates the formation of “cross-cut narratives.”

When his shapes, based on squares, circles, cones, triangles and linked, intertwined and twisted, even to the point of losing their original shape, they tend to gradually assume sensuous marks of the human body and a variety of other objects. The artist does not avoid these associations. On the contrary, he injects into his works, titles which incite symbolic, personal, intimate connections.

Torso, for example, made of a tailoring of solid square copper pieces, looks like medieval armor, alluding to strength, solidness and sensuality. Ali the Women of the World is a cape made of bronze mesh which creates curves in the air. They rise and fall, forming cones of various heights and densities. Tracing an imaginary topography, the cones suggest female breasts, relating them to sensations of abundance and serenity. Necklace, in stainless steel, made of hollow squares, has the aggressive flexibility of a chain placed around a human neck.

Although they have no real motor capacity, Luiz Hermano’s sculptures contain a potential for constant movement. They ask the spectator about their most flexible, movable aspects. They ask to be manipulated. They play with thought, opposing what they are in the visible moment with what they could be in the most subjective projections.

In the school of material the artist is an alchemist. Metal, a conductor of energy, establishes an allusion to technology, while at the same time, being in counterpoint with the organic forms suggested. In the exercise of transmutation of form, the metal becomes the pure gold of the artist.

Composing laced, brilliant series which become absolutely individual bodies, Hermano contrasts geometry and “organicity”, immobility and flexibility, abstraction and narration, without these apparent antagonisms becoming truly contradictory. It is because, in a sophisticated strategy, all these characteristics are articulated with fluency, composing a materialistic reflection about the possible out folding of all things. Luiz Hermano begins with chaos, which involves any set of possibilities and through his work, proposes a world of a new organization.