Maria Capelo in Lisbon

The publication ‘The Things of the World are Rock’ brings together recent drawings and paintings of Lisbon based artist Maria Capelo. They were shown in the Pavilhão Branco in Lisbon in 2019. The title of the exhibition s borrowed from words by Cesare Pavese. The artist shares with Pavese a deep interest in landscape, and in the traces of life that can be observed in nature, and the sense of time it evokes.

I visited Capelo’s exhibition in Lisbon and wrote in response the essay ‘Rock Solid Vivid’ which was published in the catalog, along with texts by Tobi Maier and João Pinharanda. The book is published by the Galerias Municipais in Lisbon.

“All the drawings bring our attention to the surface of things, and show structure, strong contrast. They are refined, we see the thinnest of lines and folds, like in a hand palm. What the works share is a transformational unpredictability and suggestiveness. The depicted motifs seem to be willing to become something else. A tree is a bone. A branch is a leg. A bush is a vulva. Stepping into the work, causes a chain of associations. “My work has always that approach, of observing, contemplating and reorganizing what you can see.” Capelo remarked. So she makes landscapes – but she also makes something else.” (from the essay ‘Rock Solid Vivid’)

Book Launch in Riga

On June 5th, 2019, Salt in the Wound was presented in the Latvian capital Riga with a talk and discussion at Careva Gallery. With this event the gallery launched its art book store in the city centre, at Kalku Iela 24.

One of the chapters of Salt in the Wound is conceived in Latvia, as I was a resident at the International Writers and Translators House in Ventspils. From there I started to explore the Latvian landscape, history and habits, and the cultural environment. The result can be read in ‘Notes from Latvia,’ which recalls, among others, a meeting with painter Janis Avotins in his studio in Riga.

“‘Art shouldn’t be sentimal,’ Avotins says – partly because we’re talking about the relationship between his work and the history of Latvia. The figures he paints are based on photographs from magazines of the Russian era. At his studio I see folders full of neatly ordered cuttings, all images from a time gone by, the time in which he was born. He is interested in the postures of the people in the photographs, not in the individuals themselves. Or, you could say, he looks at the way people are specifically not individuals.” (fragment from ‘Notes from Latvia’).

Next Book launch: University of South Carolina Aiken, 30 Sept. 2019