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By Paulo Sergio Duarte
..."The painting of Marcus Andre manifests this uncommon ability to pay the inevitable tribute to art history without allowing it to dominate the scene to the extent of eclipsing the work of the present. From the technique chosen – encaustic – to the craftsman like activity of doing and redoing each surface, in a process of accumulation by subtraction of excess, tradition achieves a fine point of condensation, is present, but is not as powerfully active as a pictorial thought materialized before our very eyes. There are no mimetic traces – gesture is labor, self-effaced on behalf of the element conceived. The body is not a conveyor for impulses reacting to orders from a given culture; on the contrary, it materializes and renders visible the though-tout action. But this does not mean it will edit out the moments of indecision – form hesitates because it is not the consequence of a program dictated a priori . Form lies in the permanent interchange between doing and thinking; it only seems to hesitate because it openly flaunts this interchange and elicits the same movement from the eye that detects it. The praise of painting as though-out experience produces unexpected qualities, such as palette containing tones that cannot be found in any pure raw pigment, and where opacity is often achieved by an accumulation of transparencies. The paintings open up as horizons that overlay the saturated real landscape and seem to challenge it. They forgo the sharpness of the figures, the explicit reference to bodies and gestures, and remain as possible images of a landscape inhabited only by this painting and its thought."...
Rio de Janeiro , July 2000.
By Sonia Salzstein"Two features are repeatedly affirmed in Marcus Andre's canvases: rectangular shapes and the deployment of painting surfaces into horizontal layers. These features appeared in the artist's paintings as early as in the mid ‘80s and by the end of the following decade they had risen to the condition of innermost essence of his work. This emphasis on the horizontal shape clearly indicated the painter's primordial and decisive interest for a visual field in somewhat related to the poetics of landscape. In any way, in the first works of Marcus Andre, this poetics was experienced with a certain intellectual circumspection, shrouded in rarified expressiveness, an “oriental” eloquence subdued to nearly nothing, already pointing to the subsequent course of the work: the landscape observed through a sort of progressive blackening of vision, from a wavering, undulated point of view from which a horizon was drawn."...
São Paulo, June 2000.
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