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Visual dialogs Series

Marilene Zancchett - 2018

Oil on canvas

70,00 cm height x 70,00cm width x 0,10 cm depth

USD 1.985,00

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Delivery period: 20 to 25 days to any country outside Brazil

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Product code: 14015

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THE ARTIST

Marilene Zancchett

“An emptiness that fills space. Sparsely populated by colors – few but welcoming.” Could this minimal(/ist) use of words – simple, but with meaning – be the most coherent way to represent the work of Marilene Zancchett in writing?

Minimum – minimal – expression: one of the keys, of course, in expression through art. Restraint. For Marilene, it translates into only minimal occupation of the white spaces on the canvas; abstract, with a raw description of human figures; little emotion in them; only a timid use of secondary colors.

Minimalism that is also reflected in (literally) cutting down the physical tools for creating these minimal personalities: working usually in oils, she files a spatula down: “I make it really small, fine and flexible. This gives me a freedom of movement that helps me, and indeed makes the work more of a pleasure.” Somehow her minimalist structures create not only two- but also three-dimensional spaces in the voids between strokes.

In the intuition with which she gives life to her human figures, it is as if she is playing out the dance of the minimalist concept in literature. Rather than dictate meaning, she prefers to suggest context. It’s as if she expects the viewer to participate actively in creating the story in the work he/she is experiencing. Her creations are also inspired by Lygia Clark, an artist Zancchett admires and who was part of the neo-concretism, a 100% Brazilian artistic movement. Through her sculptures, Lygia wanted the viewer to be part of the work.

“I like white. Because it opens up space for the imagination. I feel that empty space is not any impediment – on the contrary, it invites people to take a stance – to position themselves in that space and context. They themselves set out scenarios, they identify themselves with characters; they create a vision of that little world, being represented in front of them, in accordance with their own experiences.”

These elements of simplicity add up to a way of painting that is essentially minimalist – but (in tune with minimalism) not purely or entirely so. Her figurative forms take the participant closer to impressionism than to the geometrical lines/shapes often associated with minimalism. Since childhood Marilene has been a fan of Claude Monet – one of the most famous impressionists of all time. In her approach, though, she seeks to report and transmit the various impressions of colors, light, movement of people, rather than nature.

Minimum – minimal: one of the keys in expression through art. Restraint. For Marilene, it translates into only minimal occupation of the white spaces on the canvas; abstract, with a raw description of human figures

“In the street, I automatically observe and capture people’s movements – mainly through a drawings that I make in my mind of the characters that I see, but also with photographs. I have been doing this since I was at the Fine Arts College: in the campus bus I would fix people with such stares that sometimes I had to glance away sharply to avoid confrontation.”

Born in a small town in the interior of Santa Catarina State, Marilene moved to the state capital, Curitiba, to follow her dream of studying visual arts, at the Belas Artes College. She has works in private collections and official spaces in numerous countries, and has won awards at various Brazilian salons. She says: “Every single day, I paint – something. If the day is not right for my own production, I’ll be exercising brushstrokes to teach my students in my studio. It is the air that I breathe” – and, she says, with a broad emotional, smile, “a synonym of my happiness and gratitude for my life.”

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works by Marilene Zancchett

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