D | Marcos Anthony

DEPOSITIONS

* Testimony of Vilma Nöel

Seduced by Marcos Anthony's paintings, I couldn't help but express my great hope in his career.

As each day passes, he asserts himself with virtuosity, spontaneity and strong and striking characteristics in his work.

The keys to his riddles are lost in the depths of the unconscious of each one of us, admirers of his magical inventions.

He invents without hesitation, creates his world within a harmonious, chimerical, poetics. Already born as an "indigo child" with everything registered, prepared in spirituality. Child who can come up with new and brilliant ideas every ten seconds.

He presented his genius work from very early on in his childhood, demonstrating extreme sensitivity, excess energy. He was easily understood to compensate for his lack of hearing and consequent verbal expression. Hence his own learning methods, thanks to the cultural level of his enlightened, enlightened and blessed family, thus having a whole structure to understand him and let him express himself, respecting him within his limits and opening doors to him, encouraging him for the knowledge of other artists who gave a poetic accent to his original fishing. to shine and transform your world in your very imaginative way, literally following your mission.

And I suspect that he is visited, in the unknown hours of the night, by Renaissance, Florentine, Expressionist, Cubist, Surrealist masters... arrived from remote times to visit him. It was the love that taught him to paint on a surface the contours he felt or relived in the memory of other lives, in a duality that challenges the artist to express himself in brushstrokes.

From the beginning, he has been committed to the poetic attitude as a source that generates meaning and creates instigating scenes for our eyes. Images of a subtle metaphysics of symbolic enigmas, which make us thoughtful and suggest marks linked to the passage of time. Dancing women, geometric women, cones and cubes, transparency, arabesques, prints, frames, circles, spheres, symbols, sensual and graceful baroqueism, certain dotted, well-delineated hieroglyphs, which lead us similarly, between painting and poetry, traces, sinuous demarcations of zig zags, formal and informal enigmas, implied, evanescent limits of a restless feeling, showing that this artist is a skilled draftsman and excellent colorist...

It documents Brazil in the form of a magical dream, so that we have the opportunity to review our land beyond problems, in a kaleidoscope of joy and hope, which invades and infects us. In the conflict between mass culture and erudite culture, between lay and academic cultural production, between popular reading and cutting-edge novels, between the sophisticated techniques of internationalist modern art and the primitive, permanently creator of popular art, there is Anthony's thematic repository. All this collaborating to form the flagrant and nexus, which he gives us, interpreting works of great masters, ancestors and present. There are two principles of independent forces in his work: the vital and the mytho-biblical.

He paints with grace and delicacy his saints, touched by the poetic magic of his sensibility. Its characters evolve over a pictorial setting in a chess composition of texture and points present in a set that defines a very own style. Hence, we find an essential purity, constituting a phenomenon of expression - before expressing between signs and choreography of colors and shapes - a reason without words that refers only to its own harmony, designating by contrast a disformity, duplicity, in a rhapsodic sequence of arranged scenes and repetitions, suggesting melodic, pictorial arcs that intersperse and articulate the dialogue between his canvases of great beauty, dynamism and rhythm.

They are spiritual, original, colorful and part of the never-ending story of human life. We are, in a way, possessed by the energy that comes out of them. Anthony already accumulated, in his youth, a work of expressive richness, speaking through his painting in an immediate, intuitive and simple language. This set of works presented here is a testament to the diversity of expression of Marcos Anthony. It allows us to follow the development of this artist who, for our pleasure, invites us to discover, by his side, the fabulous universe of art he created.

* Testimony of Rogério Zola Santiago

Marcos Anthony paints stories and works that are scenes from the past discovered by him in books, museums and - of course, personal intuitions . Centuries like this reappear in a new guise, in the brushstrokes that form fabrics and patterns, from medieval Europe to colonial Brazil - with Picassian references (the multiple faces) - and the divisions of expression. In a contemporary figurative work, Marcos Anthony goes to New York with a Brazil of impactful reinterpretations in his luggage. Even without the ability to hear the sounds of the world (the artist is deaf), his colors speak of an inner reality in mosaics diluted in pastel tones that slip into polychromy. Chandeliers, curtains, Empire tables and the human farce seem to dance under the artisanal tailoring of the artist painter, who is amused to know the observer involved in the plot of the ages he portrays, in a voluptuousness of castles and historical vestiges, carved tables and greedy lace. Egyptian forms and also "naive" bodies (between the primitive and the innocent) are reminiscent of the Greek statues of the archaic period (kouros and koris, respectively, men and women with bulging eyes and makeup at the time). Beings that appear in character, semi-nude, barefoot, Incas and indigenous, in an almost three-dimensional positioning, flattening the look from the front and from the side: it makes one believe in a metamorphosis between different periods of human social evolution, described in a baroque and rococo style. (with some ornaments and trinkets) pictorial interpretation of the world.

* Testimony by Oscar D'Ambrosio

Miscellaneous portraits

Pela multiplicidade de suas faces , any representation of Frida Kahlo may sound reductionist. In this aspect, Marcos Anthony is the face of the Mexican artist from the perspective in which she is seen in several ways at the same time, both from a frontal and a side view. It is a visual resource that seeks to account for a paradigm of art that can be read as female liberation, but also as a symbol of an inordinate passion. The artist's magic and charm lie in having lived an existence ruled by the excesses of both love and pain. Finding images of her in a tropical atmosphere, dressed as a saint or identified as Carmen Miranda are possibilities of a life that has opened up to the world and that, therefore, cannot be found in boxes, but multiplied in portraits, flavors and knowledge.

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DEPOSITIONS

* Testimony of Vilma Nöel

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* Testimony of Rogério Zola Santiago

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* Testimony by Oscar D&#39;Ambrosio

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* Testimony by Oscar D'Ambrosio