Emanuel Von Lauenstein Massarani
SOURCE: Published by the Newspaper of São Paulo State Legislative Assembly – October, 19th 2002.
Many critics claim that the language of art is a system of probabilities, in which 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. However, 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 of the strictly rational conditions and that are inexplicable from the point of view of knowledge. 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 in the secret "world" of his elaborations, which led him to mature some complex icons and certainly difficult for some to read. 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, any fact, or more simply to a philosophical, religious, magical or cabalistic idea, we find in the center of this "undoubtedly critical" universe the searching look of Walter Miranda, who always observes us, even when is not present.
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 self-made cardboard, donated to the Museum of Art of the Parliament 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
SOURCE: Published by the Newspaper of São Paulo State Legislative Assembly – October, 19th 2002.
