Linked to an emotion, an event, a fact or simply to a philosophical, religious, magical or cabalistic idea, we find in the center of this universe - certainly critical - the searching look of Walter Miranda, who always observes us, even when not is present.
We are convinced that one of the most interesting points in the art of each era is represented by the stimulus of utopias.
There are potentially, in man, "mental states" that can be immune to strictly rational conditions and which are inexplicable from the point of view of knowledge.
Many critics claim that the language of art is a system of probabilities, where improbabilities are introduced with equal importance, as a contribution to the history of ideas. We can say that the human being is a consciousness suspended in an unknown universe.
From a strictly semantic point of view, we could add that the work of art carries an “ambiguous” message, due to the plurality of meanings that are attributed to it and that coexist in a single context. Walter Miranda's conscious and rational experience of reality is the result of an operating method that purposefully ignores other perceptions that we will simply call “different”.
We believe that the artist's search can lead us to the revelation of an unknown universe. This is shown by the lucidity and detail of his visionary design, as well as the mysterious and ironic iconographic organization of his symbols, his meticulous ability to persevere with patience the secret “world” of his elucubrations that led him to mature some complex icons and certainly difficult to read for some. In their curious "symbolism", some families of signs, objects, technological products and consumption of today's society are emphatically mixed, living freely and emblematically with figures that reveal the daily concern of man.
Linked to an emotion, an event, a fact or simply to a philosophical, religious, magical or cabalistic idea, we find in the center of this universe - certainly critical - the searching look of Walter Miranda, who always observes us, even when not is present.
In conclusion, we can say that the icon “All Quiet on the Western Front”, donated by the author himself to the Artistic Collection of the São Paulo Legislative Assembly constitutes a “register of the mind” and seems to bring the sign of a time that is concomitant with the space.
Nada de Novo no Front II
THE ARTIST
Walter L.L. Miranda was born in São Paulo in 1954 and since 1976 he has been a plastic artist. He teaches drawing, watercolor, pastel, ink, human figure and painting at Atelier Oficina FWM. At the same time he works as a graphic designer, creating packaging, doing desktop publishing, creating advertising brochures, etc. He participated in 53 Art Salons, 44 group exhibitions and 12 individual exhibitions, where he won 15 awards and was honored twice for his professional activity.
His works are found in collections of several museums, cultural institutions and private collections from countries in Latin America and the United States.
He was a member of the State Commission of Plastic Arts in the period 1988 1992 and has been serving as a jury member in Art Salons since 1987.
Participated in the World Congress on the Condition of the Artist, organized by UNESCO, in Paris (1997); the 1st Latin American Meeting of Plastic Artists, as representative of Brazil, in La Paz, Bolivia (1991); he was president of the Brazilian Regional Committee for IAA - International Association of Plastic Arts - affiliated with Unesco (1989 - 1991), he worked intensively at the IAA Congress, in Leon, Spain (1989), and at the 12th IAA General Assembly, in Madrid , Spain (1989). He was President of the Pre-Union Association of Plastic Artists of São Paulo.
In addition he painted an important mural at the Faculty of Fine Arts in La Paz (1991) and another mural at the Regional Museum of Costa Rican Art (1992), the artist periodically holds art conferences and writes articles in newspapers and specialized magazines.
