Luiza Interlenghi. Perfis. Publicado no catálogo da exposição na Luciana Caravello Arte Contemporânea, Rio de Janeiro – versão para o inglês Profiles – 2013 -

The combinatory possibilities, the accumulation and inclusion of materiais divested of their original functions ali central features of the solid career of Luiz Hermano – in the two series presented in Profiles reposition the autobiographical narratives previously associated with his work. They take up that poetic heart in the light of the historical debate conducted in the constructivist tradition in Brazil. An observer of the fabrics of craft as well as the regularities of industry, the artist moves between both worlds, returning, in his own way, to modernist space.

Cuts of a metallic nature at times produce blocks emerging from the ground, like ice­bergs from the ocean, at others emptied surfaces supported by the wall or the floor, like stone latticework. There is evidente in Pra file of the cross-cutting tension between the system and the informal that underlies the other works. The industrial welding, car­ried out outside the workshop, makes it possible to fasten down solid objects, which are shortly thereafter destabilized by the ‘graphical’ variations of their parts.

With some points fixed to the wall – neither painting, nor sculpture -, the soft pieces, manipulated by the artist, yield under their own weight. Be it in Green, Dance or Gen­erator, the undulations upset the grid of plates that shine with colors, like a bare touch of mist, in the intervals that are devoid of their geometry – the surface breathes, the color opens and contracta.

But Dorsal, whose inclined position suggest the vertebrae of a rising metal body, or Buds, with its strange cut fruit, suggest the possibility that organic proliferation can reconcile the living (which is multiple, irregular, plural) with the universal form of mod­emism.

Humor and playfulness, which are constantly affirmed in his work, act as ballast al­lowing the artist to articulate the fluid time of the empirical (the possible precision of processes constructed by hand) and the mechanics of industry. The mutations inflicted on the meticulous assembling of soft pra files is commented on in titles such as Roller­Coaster. While in Sunflower, a displaced joining of the drawings interna/ to the cuts is challenged by the formal irony of a flower. By crossing distantes in time, Hermano inclines towards that paradoxical neoconcretist temporality that attempts to achieve vital intensity in constructivist thinking, by playfully calculating alternatives to the games of strength that life causes to burst in.