D’après nature ou O ofício do artifício
Guy Amado
“I have almost achieved perfection you see, of a divine creature
that is pure, harmonious, absolutely incapable of any malice.
And if [...] I have fallen short of the human form [...] it really is of
no great importance. I am closer that you could possibly imagine sir.”
[em The Island of Dr. Moreau, de H.G. Wells]
“Biologically, the species is the accumulation of the experiments
of all its successful individuals since the beginning”.
[H.G. Wells, em A modern utopia]
Por quase toda a última década, o corpo da produção de Walmor Corrêa vem percorrendo uma trajetória inusitada e consistente, sempre pautada em questões de origem (com o perdão de um possível trocadilho), mas expandindo gradualmente o repertório visual e formal de suas criações. E o termo “criações” aqui adquire um sentido literal, como se verá. A esse mote se soma um interesse questionador acerca de percepções pré-formatadas do mundo a partir de sistemas de convenções legitimatórias, notadamente aqueles endossados pela ciência.
D’après nature or THE craft of artifice
Guy Amado
“I have almost achieved perfection you see, of a divine creature
that is pure, harmonious, absolutely incapable of any malice.
And if [...] I have fallen short of the human form [...] it really is of no
great importance. I am closer than you could possibly imagine sir.”
[The Island of Dr. Moreau, by H.G. Wells]
“Biologically, the species is the accumulation of the experiments
of all its successful individuals since the beginning”.
[H.G. Wells, in A modern utopia]
Walmor Corrêa’s work has followed an unusual and consistent path for most of the past decade, governed always by questions of origin, but gradually expanding the visual and formal repertoire of his creations. And the term “creations” takes on a literal meaning here, as we shall see. He is also interested in questioning the pre-formed perception of the world legitimised by systems of convention, particularly those backed by science.