Walter Miranda's iconographic “records” bring the sign of a time concomitant with space.

We are convinced that one of the most interesting points of the art of each era is represented by the stimulus of utopias. There are, potentially, in man and always "mental states" that can be immune to strictly rational conditions and that 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 sets aside 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 elocubrations that led him to mature some icons that are complex and certainly difficult to read for some.

In his 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, any fact, or more 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 watches us, even when it is not present.  

Nada de Novo no Front IV

        In conclusion, we can say that the works "All quiet on the western front" and "Not to say that I did not speak of love III", from the series Brave New Millennium (2002), made in oil and objects on cardboard of own manufacture, donated to the Artistic Collection of the Legislative of São Paulo, constitute a “register of the mind” and seem to bring the sign of a time that is concomitant with space.

Emanuel Von Lauenstein Massarani

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