Frequently False Conclusions
Frequent False Conclusions 40, 2019. Acrylic, spray and pencil on canvas, 150 x 200 cm

outstanding feature of David Magila's work, simultaneity also seems to have an effect on his calendar. With three exhibitions opening one after the other in May 2019, the artist makes an impactful entry into the São Paulo scene. There are three different spaces with different vocations, in which he exposes a wide range of works, almost all of them unpublished, which together make up a very comprehensive overview of the main issues that motivate him.

“It was the result of chance”, he explains, emphasizing that each of these exhibitions has its own history, but without denying the existence of important links between the different exhibition centers. The first of these projects took place in the garden of the mansion occupied by the Ema Klabin Foundation. It was conceived in the context of the Labas Festival, an initiative of the Lithuanian community in São Paulo, and led the artist to delve into his family history, into the affective and symbolic memory linked to the sawmill set up by his grandfather, who took refuge in Brazil in the 1930s. , and where he learned the trade, welding dumps.

The second exhibition, which opened at the British Cultural Center, had as its motto a dialogue with the work of British artist Hurvin Anderson. It includes not only paintings – a language that the artist has been exploring more intensively in recent times – but also sculptures, drawings and videos. Recent works by him were also exhibited in a solo show at Galeria Janaina Torres. These last two nuclei of works reveal, through a subtle but intense dialogue, the fluid and coherent character of his poetics.

In Magila's works there always seems to be a more distant, more remote starting point than the first appearances indicate. His painting, despite its ethereal character, is not an invented construction. The inanimate objects and scenes that magnetize these constructions always derive from scenes from reality, which the artist collects like an explorer, usually in decaying and abandoned places, and records through photographs or observational drawings.

This careful recording of landscapes and details is part of his process. Graduated in arts from Unesp in the early 2000s and often pointed out as one of the highlights of young Brazilian painting, Magila has a very diverse trajectory, marked by moments of exclusive dedication to graphic design and the search for an association between different forms of expression. artistic.

Empty chairs, rubble from bars, umbrellas not only populate his canvases creating a somewhat nostalgic scene, but also serve as a structure for the entire composition. “I don't paint the object, I paint around it,” she explains. Empty architecture, deserted environments are its theme. You never see human traces in them, but we know they were there. Magila confesses an interest in places that have the mark of a certain experience, places that feed a series of works. This is the case, for example, of a beach in Iguape, which is being eaten by the sea and which is the source of several of the works shown at the British Center. On several visits to the site, he collected not only scenes, but objects swallowed up by the sea (any relationship with an impulse of ecological denunciation would not be a mere coincidence), later transforming these remains into a large installation.

Despite the chromatic power of the canvases, it is always from the drawing that the image is structured, in a series of re-readings until the final form. The mixture of techniques, the influence of his training in technical drawing (at the Liceu de Artes e Ofícios) and his experience as a graphic artist – an area in which he worked for a long time – leave their marks on the work. And they contribute to creating that sensation of a composition that does not necessarily seek a definitive harmony, but rather promotes the coexistence, somewhat ambiguous, of elements that are only apparently disparate. His paintings seduce and challenge the senses at the same time.

Leave a comment

Please write a comment
Please write your name