Figueiredo’s succinct forms are rendered in bright hues of yellow, red, green, and blue, with white and black defining positive and negative spaces within the overall geometry. His Revelos are part painting, part relief, and part sculpture—they separate from the wall, creating spatial complexities within their bounds, and imply movement through the simplicity of their shapes. Though based on the shape of a simple square, each Revelo animates beyond that limitation, the folded and layered canvas sheets, the cuts and slices of contrasting paints creating movement from stasis. These works recall the in-between geometry of a turning page, evoking Figueiredo’s obsession with books and newspapers, and recalling the frozen time of a still photographic image.
Brazilian artist Luciano Figueiredo works with color, form, volume, and light in his exquisite wall-bound compositions. Figueiredo began making paintings in the 1960s, and his origins and his output place him in line with Brazilian Constructivism, a modernist movement that emphasized geometric forms and rational designs. Influenced by the Bauhaus and by his Brazilian peers, Figueiredo studied both in his native Brazil and in London during the 1960s and 70s, taking up subjects including painting, English literature, and art history.
This untitled ink and pencil drawing by James “Yaya” Hough is made on what the artist calls “institutional paper”, or the state-issued forms that monitor the daily activities of prisoners, of which, each detainee is generally required to fill out in triplicate...
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