About me

Drawings, which are the guidelines of my production, come about at the encounter of that which attracts me and excites me when combining life and work.
I turn to the observation of instigating forms. My notes and records pave the way to works that use different techniques that oftentimes add to one another. This way, watercolors can be added to gouache and paints with traces of charcoal defining shapes and forms in the midst of layers and overlays.
A certain concern leads me in search for a certain strangeness/mystery in my images that have an attraction for organic objects as a starting point. Over the years I have accumulated collections of seeds, shells, rocks, bones, dried fragments of plants and insects.
Almost ten years have been dedicated to utilitarian ceramics and the modeling of some sculptures, always covering all the steps in the process including the preparation of the enamels.
The transition from ceramics to watercolor brought me back to color and to light. In the early nineties, I set up a dry aquarium with mirrors and objects from my collection and worked on a series of drawings and paintings, watercolors and oils.
My first solo exhibition was in 1994, where I presented paintings and large drawings on different layouts (paper, canvas and polyester) that I made from records of the small pieces of driftwood found on the beaches of Maranhão; eroded by the sea, sand and wind. I named this series: Gravetos com História (Driftwood With History) Movie.

 

Muito Além da Maçã (Far Beyond The Apple Series)
For three years I plunged into the theme of apples in an almost obsessive manner without quite knowing the reasons for such a strong motivation.
The discipline of science prevailed for quite some time. I submitted the apples to a series of operations and recorded information about their different states over time with both the whole fruit as well as in slices laid over sheets of paper.
I made countless drawings and then printed the blades on transparent acetate allowing overlaps and compositional games.
I created manipulable objects in acrylic and interfered in old radiographs using dry point with great enthusiasm and wonder.
One morning, facing the expressive production, I was hit by a deep emotion that brought me to tears: I associated the images to embryos… the memory of the birth of my last daughter. I understood where my unconscious revealed itself.
From then on I created three-dimensional objects on a large scale.

The memory interprets what you have lived or what you think you have remembered
J.L.Borges

 

Nexus Series

Early in April 2001, I found several spider webs among the shrubs covered in dew. Ideas emerged. I associated the dew drops with tears, with the fluids released when tensions disappear, according to Louise Bourgeois.
I observed the working spiders continuously redoing their webs with enviable efficiency.
A few days later I got involved with knitting with transparent yarns and thick needles that I had devised. I worked with the building of meshes without foreseeing the final result. I had to knit a lot, repeating every gesture continuously for hours on end.
At times I had the feeling that time was suspended and the intense involvement allowed the surfacing of memories and emotions. The making became work.
The first modules emerged and shortly thereafter I began a series of observation drawings by recording the overlays of threads, knots, wavy and continuous lines. I used several types of nibs and pens with different inks. These variations generated special interest because of the subtle differences that occurred in the lines.
The eye fixed to the meshes, to that which is already built, captures the course of the threads and the hand translates them into ink on paper.
Once assembled, the produced modules acquired a characteristic of drawings in space. There was a complementation, a mirroring of both productions.
Then knitted objects appeared, others in crochet, put together with seams and lead threads. And the series developed further with etchings, dry point and painting on canvas.
Paintings, engravings, objects and artist’s notebooks were produced in parallel.

January 2017

To download my complete resume click here: curriculum vitae maria villares

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