Casa Triângulo has the pleasure to present, opening on 1st of July 2017, the fifth solo exhibition by Valdirlei Dias Nunes. The exhibition presents seven paintings in various dimensions and nine reliefs - recent works which resume the artist’s recent researches.
Rising from the São Paulo (Brazil) art scene in the 90s, coming from Paraná (South of Brazil), Valdirlei Dias Nunes developed, in almost three decades, a unique and consistent body of work that stands out, among other aspects, for its detachment from other artistic tendencies in Brazil and abroad.
Nunes’ production was always placed in the intersection between painting, sculpture and drawing, but, in the last few years, its formal and figurative elements were condensed, expanding the complexity of their pictorial field of action to the third dimension. Under continuous reduction and precision, surfaces meticulously build relate invariably with geometric abstraction and figurative art, taking as their representative subject the game between spaces, pictorial planes, depth and perspective.
For his upcoming exhibition entitled “Recent Paintings and Reliefs”, Nunes presents paintings in golden thin lines against black or white backgrounds, which suggest, at first, abstract-geometrical compositions, but then reveal themselves as representations of everyday objects such as grids and nets. Delicate and subtle, these webs of geometric pattern have their monorhythm altered by irregular, straight or organic shaped trims. The exhibition comprises also of a series of reliefs that consist in rectangular wood plaques painted white and enfolded completely or partially by wood structures, which behave as false frames, projecting themselves externally in different directions. These slats, thrown out the exterior space of the white rectangular blocks have some of their edges broken randomly, as to create a certain visual dissonance, opposing to the formal rigor of structure.
Way beyond their dense emptiness, these paintings and reliefs are open to new dimensions, ahead of the formal concerns of Painting. Nunes’ recent production seems to be infected by materiality and transitions from mundane objects to apparently formal constructions, thus marking a coherent passage from two-dimensional to three-dimensional geometry.