Works of the artist

"The artist should have something to say because his duty is not to dominate the form, but to adapt it to a content." Wassily Kandinsky In this series of works that I am developing since 1986 and has as "leit motif" the homonymous book of the English writer Aldoux Huxley, I try to approach the subtle side of the individual's control, in compensation to the evident side, that I presented in the series "1984". I try to show in it that, due to the current technological modernity, we became apathetic, alienated and robotized, unable to question with depth the fundamental concepts brought by an unstructured development. Incapacity which was born from the indirect and subtle control of our longings and desires by the contemporary material comforts (true somas).

                                                                                #img_1741#

In other words, the intention of this series is to represent the incoherence of the human development through three basic points, as follow:

• The cultural development, that brought few positive points, since it was not used appropriately.


• The unstructured technological development, that caused the current impasse, because we give more value to the exact sciences than the human sciences.


• The risk of a nuclear or ecological hecatomb and their consequences, that it could be a total retreat.

 

With that in mind, I try to make questions on the supposed impunity of the human behavior, such as: Will we be, one day, interrogated on the inconsequencies practiced through a thoughtless technology?  Will own descendants be our inquirers?  Will a desolated and devastated planet be our supreme court? The pictures are planned on the golden section, a mathematical relationship observed in several creations of the nature and already found in the mathematical studies of the ancient people. Using it and doing some mathematical calculations, I try to solve, in a constructivist way, the challenge of the composition. After several studies, I determine the golden rectangles and I locate several focal points and areas where the symbolic elements will be stuck. The logarithmic spirals and the lines of force appear as natural consequence of the use of the golden section and rectangles. In some pictures, I created a type of "closed circle" where the picture is a detail of it and this detail is the own picture.

 

Now it is the moment of working the symbolic elements that will be stuck in the points or focal areas of each picture. Among the symbolic elements they are physical-mathematics formulas and artistic elements painted separated in cardboard, which represent the real human progress; seeds and leaves of trees (prepared to not deteriorate) which represent the naturalism; computer pieces which represent the domain of the technology in the current society; scrap elements; images produced through graphic computation, etc.

 

Some elements that are repeated in several works, could be classified as a repertoire which emphasizes a personal universe of meanings, since the use of those elements as details, or as foreground, forces the spectator to examine the metonymical relationships of the pictures, provoking him some questions. The objective is that he gets his own conclusions on the theme approached through a subjective language!  The outcome is complicity or denial, it does not matter, because the both form a kind of involvement that lead him to the essence of what I am trying to transmit.

April/1992 Walter Miranda    

Read about exhibits of this series:

Diário de Bauru - Walter Miranda e Evaldo Barros expõem na Casa da Cultura

Diário de Bauru - Telas e Poemas de Walter Miranda e Evaldo Barros, Amanhã na Casa da Cultura

Estado de São Paulo - Relação matemática observada na natureza serve de inspiração para Walter Miranda

Gazeta do Ipiranga - A Arte de Walter Miranda: Retratar a Realidade