The connection between the maximum and the minimum

Elements of different concepts come together on the canvas. They tell a story, narrate facts and stimulate our reflection. They surpass the limits of technique and art, generating the proposals of Walter Miranda, an artist connected with the world.

Graphic designer and publicist, with extensive knowledge of Physics and Mathematics, he establishes a combination of all his knowledge in a full and detailed art. With an incredible skill with materials, he explores the effects of ink, gouache and graphite with the same ease with which he works with collages and overlays. His first works date from the 70s, working on oil on canvas.

In the 1980s, he began to explore “splashed” painting, when the first silhouettes made of cardboard also coincide. In that same period, the figure of the earth appears, which becomes part of all his canvases.

In addition to the strong, safe and questioning message, his work is rich in arguments. Finally an art that provokes our thinking.

Currently, Walter Miranda uses the technique of “oil plus objects on wood”. And from these objects his painting is born, in which the artist applies everything from computer components to photographs, dry leaves, pieces of scrap, electrical wires, fossils and antiques that vary according to the theme of the painting. For that, he keeps a small deposit, in which he preserves all the objects he finds or gains from his friends.

In summary, his work is constructivist and develops based on the Golden Ratio, following precise mathematical proportions. The painting is composed of several other small paintings, forming the whole, on large canvas, starting from the minimum to the maximum. The connection between the maximum and the minimum.

Arte em Xeque

ART IN CHECK

Before choosing the theme, Walter Miranda develops a text, which becomes a reference in the process. The text is not always his own. In the mid of 1970s, for example, he learned of the reply letter from the indigenous chief Seattle (1790/1866), in response to a proposal by the President of the United States, Franklin Pearce, who intended to buy indigenous lands in 1855. The name of the famous city in the United States comes from this tribe. The text created a fascination for the artist and culminated in the creation of the “Seattle Project - Exaltation to Gaia”, which exalts the personality of an artist who seeks justice, based on coherent attitudes. Why the facts interfere with Walter Miranda's creativity: the evolution of technology, conflicts between nations, power and violence.

In 1982, he artistically documented the Malvinas War and was awarded with  the Prize at the V Salon of Young artists in Santo André, with the paintings: Argentinian check, English check and check mate, which form a board that awakens to the possession of the Malvinas Islands. The book of George Orwell's 1984 also deserved to be portrayed in George Orwell's Stigma series, in which we observed a critique of Brazilian economic policy. With the turn of the Millennium, Walter Miranda resumed the development of the series Brave New Middle Ages. It is a requested work of the series Brave New World, of 1986.

In all the sequences of his work, he never stopped working with the figurative. However subjective the theme may be, the viewer comes to a conclusion. As in the exhibition “Reale et Virtuale”, happened in 2002 at Funarte / São Paulo, in which he takes up the question started in 1999, in the works Brave New Millennium, about the perception of truth and illusion.

Since 1976, Walter Miranda has participated in 53 Art Salons, obtaining 15 awards. He held 44 group exhibitions and 13 individual exhibitions. He has works in the collection of Museums, Cultural Institutions and Private Collections in Brazil, the United States and Latin America. Among them, he participates in the collection of the Pinacoteca Municipal de São Paulo; National Museum of Arts in La Paz - Bolivia; Museum of Arts of the Americas and Museum of Contemporary Art, both from Panama; Museum of Contemporary Latin American Art and Design and Regional Museum of Costa Rican Art, both of which are from Costa Rica. He deserved a Gold Medal at the 1st SPFC / Unesco Plastic Arts Salon, in 1987. He is the creator and co-organizer of the Beethoven Project. In 1991, he was invited to participate in a 1.20 x 2.50 m mural entitled “Illimani”; in addition to painting, the following year, a mural measuring 1.20 x 2.40 m, with the title "Not to mention that I did not mention Costa Rica". Both performed in Costa Rica, alongside other big names in Costa Rican art.