Pedro Cabrita Reis
24 Jan - 04 Mar 2015
© Pedro Cabrita Reis
Herbarium (Madrid) #4, 2014.
Enamel, spray, aniline, acrylic, iron oxide powder, wood varnish and collage (carob root mounted on paper with electrical wire) on paper
247 x 153 cm
Herbarium (Madrid) #4, 2014.
Enamel, spray, aniline, acrylic, iron oxide powder, wood varnish and collage (carob root mounted on paper with electrical wire) on paper
247 x 153 cm
PEDRO CABRITA REIS
Herbarium (Madrid)
17 January - 4 March 2015
Drawing is a usual practice for Pedro Cabrita Reis and it has the value of an essential act. For Cabrita Reis drawing arises from the thinking and at same time it builds a mental discipline which clarifies from the creative process itself.
When he paints or makes his sculptures Pedro Cabrita Reis does not start from a drawing, but it is born from a thought which is inherent, there is no need of a preparatory action of the drawing.
For the artist, the drawing has a specific quality and it proposes questions that come from its own nature and its answer succeeds when they are made.
“Herbarium (madrid)” is a drawing show and it was specifically created by Cabrita Reis for Galería Juana de Aizpuru. Produced in his studio at Sierra de Tavira, in the South of Portugal, and in Lisbon these big size works allow us a new glance about the versatile work of this artist, from whom we already know his paintings, sculptures or artistic interventions in public spaces, and it confirms his exactitude of his creative strength which bases the diversity of his enriching artistic practice. We can also notice in these drawings how the artist adds different autobiographical aspects, being invitations of his own exhibitions pasted on the drawing, being integrating carob tree roots or rockrose trunk that he founds on his walks by the field where he has his south studio.
These works on paper, normally called drawings by Pedro Cabrita Reis, include varied techniques such as graphite, oil, varnish, acrylic, collage, smalts, crayon pencil and pen. The artist has decided to place the drawings directly on the wall giving the value of sculptural or referring to the object of the work. In this way the paper is not the work support, but it is considered another matter with the same importance.
Pedro was born in Lisbon in 1956. He counts with a consolidated international prestige, his works became key for sculpture understanding in the middle of the eighties. His work, complex, characterized by an idiosyncratic philosophical and poetical speech, includes a big variety of means: painting, photography, drawing and sculpture (this last one composed of found materials and manufactured objects). Using simple materials, many times from industrial world, and subjecting them to a creative process Cabrita Reis recycles almost anonymous memories of gestures and actions constantly repeated every day. Focused on questions related to space and memory, his works get a suggestive joint power that, transposed the visual, reach a metaphorical aspect. In fact, the complex theoretical and formal diversity of work by Pedro Cabrita Reis derives from of an anthropological reflection which is opposed to reductionism of sociological and ideological speech. At the end, it is about silences and Inquiries where the work by Cabrita settles down.
Herbarium (Madrid)
17 January - 4 March 2015
Drawing is a usual practice for Pedro Cabrita Reis and it has the value of an essential act. For Cabrita Reis drawing arises from the thinking and at same time it builds a mental discipline which clarifies from the creative process itself.
When he paints or makes his sculptures Pedro Cabrita Reis does not start from a drawing, but it is born from a thought which is inherent, there is no need of a preparatory action of the drawing.
For the artist, the drawing has a specific quality and it proposes questions that come from its own nature and its answer succeeds when they are made.
“Herbarium (madrid)” is a drawing show and it was specifically created by Cabrita Reis for Galería Juana de Aizpuru. Produced in his studio at Sierra de Tavira, in the South of Portugal, and in Lisbon these big size works allow us a new glance about the versatile work of this artist, from whom we already know his paintings, sculptures or artistic interventions in public spaces, and it confirms his exactitude of his creative strength which bases the diversity of his enriching artistic practice. We can also notice in these drawings how the artist adds different autobiographical aspects, being invitations of his own exhibitions pasted on the drawing, being integrating carob tree roots or rockrose trunk that he founds on his walks by the field where he has his south studio.
These works on paper, normally called drawings by Pedro Cabrita Reis, include varied techniques such as graphite, oil, varnish, acrylic, collage, smalts, crayon pencil and pen. The artist has decided to place the drawings directly on the wall giving the value of sculptural or referring to the object of the work. In this way the paper is not the work support, but it is considered another matter with the same importance.
Pedro was born in Lisbon in 1956. He counts with a consolidated international prestige, his works became key for sculpture understanding in the middle of the eighties. His work, complex, characterized by an idiosyncratic philosophical and poetical speech, includes a big variety of means: painting, photography, drawing and sculpture (this last one composed of found materials and manufactured objects). Using simple materials, many times from industrial world, and subjecting them to a creative process Cabrita Reis recycles almost anonymous memories of gestures and actions constantly repeated every day. Focused on questions related to space and memory, his works get a suggestive joint power that, transposed the visual, reach a metaphorical aspect. In fact, the complex theoretical and formal diversity of work by Pedro Cabrita Reis derives from of an anthropological reflection which is opposed to reductionism of sociological and ideological speech. At the end, it is about silences and Inquiries where the work by Cabrita settles down.