“and that all these adventures were visions which they saw in their sleep...”
(Tales from Shakespeare)

It all begins with a trip to Oslo. Summer nights, atmospheric spectacle. Night never comes, it never gets dark, there’s never total darkness. The permanence of twilight. Consequence: the obligatory presence of light, without the relief of darkness. It’s as though they stole the night and left us with a strange light. Permanent vigil, suspended slumber, fleeting night.

The tapestries in the work “Summer Night” were bought, one of them at a Norwegian bric-a-brac in a warehouse. Patches were applied to them (snippets, fragments, signs of beauty) that represent little vamps - starlets in sensual poses. Little patches like those that young ones use to decorate their jeans. Applied over decorative tapestries are these little vampish figures deterritorialized little pop icons. As always the artist plays around to see if it works. Yet an aesthetic necessity nudges these little figures into the nordic landscape: “that object wanted to be there”.

Thrift stores, bric-a-bracs, heavens for an artist who bears the brand of surrealism. The landscapes present in these tapestries bring with them the light of summer nights. The red figure sears the heat of redness into the warm landscape.

Solve. Some of the artist’s adventures in expressionist painting. Pictorial attack. Damasceno the colorist, promoting the clash between drawing and painting. Twenty five rectangles of aluminum onto which designs have been painted in layers. The simultaneous presence of painting, drawing and graphite. Vibrant intense colors. I think something of the Russian painter Nicolas de Staël (1914-1955), master of abstract and lyrical style, hovers over Solve. Contrasting intense tones. Colors that stage the dramatic, the tragic. Solve breathes this atmosphere.

Cinelocus. Chinese glass crystals. Vibrant colors (yellow and orange). Returning to the artist’s head is the visual memory of fires in Oslo. Bonfires that celebrate. Eruptions of light that translate an emphasis, a ritual. Cinelocus as a non-object. It seems more like a situation, a perceptual conglomeration.

Geleia Óptica. A thousand rubber seals from jars of Norwegian gooseberry jelly. The composition of a mesh, a weave. Transcendental grid. If Solve is alchemical dissolution, Geleia Óptica is the condensation, Coagula. Only if we zoom in and perceive it, amidst this enchanting light, is a sustaining: the condition of possibility in the exhibition.

Florestas da noite. The tiger that comes from comicbooks is also a tapestry bought in an online auction. Classically framed, in passepartout and everything. The tiger is cut out and placed behind abstract lines. Facing the tiger, a glass divider creates contrast between glass/non-glass. The tiger has been thrown into abstraction, into the nocturnal wilds of symmetries. Hence Blake:

“Tyger, tyger, burning bright
In the forests of the night”

Móbile. Object for the scenery of a carnival ball. Decoration made by a cultist of vibrant colors (red, orange). Recorte Rosa presents the expressive interplay between form and color. Topographical pink (akin to a map), Gestalt pink that reveals – in a perceptive gesture – thicknesses that suggest animals, reliefs, mountains. All in PVC, industrial plastic.

We’ve been passed over by eloquent plastic dreams. Guided into unusual marriages made from imaginative collages. We can rest while gazing at open planes on the wall, planes established by gaps. Transparencies and opacities. Perhaps we see a ball on the wall, an aqueous, transparent ball. Perhaps we stumble upon an enigmatic representation of atoms, or of something that alludes to the seven sticks of games that are no longer played. This is Instrumento.

Clearly these are deep, complicated dreams, brimming with enigmas (in fact, like all dreams). Yet, urged by these plastic daydreams, we can make the words of Charles and Mary Lamb our own: “[...] all of these adventures were visions that he saw in his sleep”.