Katia Canton. O batedor e a concha. Publicado no catálogo da exposição, na Galeria Paralelo, São Paulo – versão para o inglês: The wish and the ladle: drawings and objects – 2014

May metal ladies, designed for serving soup remain the object that they were designed to be and even so discard their essences to be part of an abstract sculpture? And may Whisks used to beat egg whites, made of regular steel springs with a natural wood handle, get rid of their primary forms and together become a new series of sculptural tapestry, with movements and sounds that gain life with a quick louche?

That is a singular action, a kind of alchemical operation, performed by Luiz Hermano. The artist has the gift as using objects of the everyclay life that together with a series of sculptures turn into something that is rnuch more than their worldly vocation. They gain new layers of meanings, without leaving behind the primary and legitimate purpose of their existence. Transcencling their functional constraints, because they think that care do better. They want to extrapolate its primary purpose and turn into something much more meaningful. But, they still carry in the indelible mark of its origin.

That is why the artist chosen to preserve the narre of the objects in the exhibition name: a whisk is still a whisk even though it becomes also a series of refined and interactive sculptures. The ladle is presented as itself, forming together a steel tower with a nearly geometric shape. Without changing the previous design, Hermano keeps its potential of use.

Memories of each object are revealed in a simple and efficient way, ensuring its candid existent in the world. Is this duplicity, this authentic complexity that grants the poetry consistency to this artist work. Let us not be ordinary: nothing change, but everything change. Or, at least, everything can change.

We can look at the drawings and find in them the sarne genuineness used on presenting things. Similarly, it is presented the same density and possibility of expanded readings. A proof of this clearly controversial game of power is in the choice of the right drawing lines, in coloring the shapes and in titling each work.

Everything starts with the drawing of Ioose tines that seems to crave for its freedom to go out for a walk. The artist envisaged something that caught his glaze but, at the transition process from the gesture to the paper, this something will gain very particular content and features.

Drawings made with Indian ink are filled with earthy shades, consisting of coffee and sepia paint. Luiz Hermano, from Preaoca, state of Ceará, is an artist that plays with its roots, culture and history, but rests with dreams of a bom traveler. At lye beginning, when he had just left his homeland, coffee was a cheap substitute for artistic paint. Now, added up to Indian ink, it became his memory, the content of histories lived among so many journeys told by the eyes and imagination.

That is how we got seduced by the shapes, as in “chinelinhos enfileirados” (flip flops in line), named of Bispo (a particular reference of a Bispo do Rosário work), an entanglement of patterns that look like cells, named Cérebro (Brain) or Casinha de Abelha (Bee pouse). In the city of dreams created by Luiz Hermano an artichoke (that could be a raging firo) lives together with a Campo de Pouso (Airfield); a Casa Voadora (Flying house) – that could be a wind min – interacts side by side with a Casco (Shell) – that could be a Sugar-Apple.