Mr. & Mrs. Cesar Segnini
request the pleasure of your company
to the Opening Reception
In the presence of the artist of

JAILDO MARINHO
EMPTY ORANGE

Friday April 12, 7 – 10

3072 SW 38th Ave
Miami, Fl 33146

Gallery@durbansegnini.com

Parking available

logo Durban Segnini grey
Equilibrio amarelo, 2012. Tassos marble and acrylic 11 x 12.5 x 11.4 in. 28 x 3 x 29 cm
Equilibrio amarelo, 2012.
Tassos marble and acrylic 11 x 12.5 x 11.4 in. 28 x 3 x 29 cm

 

 

April 12, 2013 – June, 2013

JAILDO MARINHO.
EMPTY ORANGE

About the energy of emptiness
Observations about the work of Jaildo Marinho

By Jacques Leenhardt

“The figurative arts must always confront the paradox that, ultimately, serves as their foundation: in painting or in sculpture, they represent, or rather, make present something or someone that is absent. In some way the very absence of that which is represented, the fact that every evocation insists, begrudgingly, upon the absence of the object, is what constitutes the significance, the joy and pain of representation. Whoever evokes presence underlines absence.

 

Bordeaux-Paris, 2011. Acrylic on wood and PVC, 21.9 x 21.9 x 1.9 in., 87 x 87 x 5 cm
Bordeaux-Paris, 2011.
Acrylic on wood and PVC, 21.9 x 21.9 x 1.9 in., 87 x 87 x 5 cm

 

This is what serves as the foundation of Jaildo Marinho’s work, as well. Each of his pieces presents a new organization of sculptural elements arranged, as if they were satellites, around an emptiness or an absence that is in some way an origin.

Contrary to the physical sciences, our philosophical tradition is not very familiarized with reflecting on emptiness, a concept fundamental to Taoist thought.

Emptiness, however, is not absent from our daily experience. We immediately sense how the empty wine glass evokes the scintillating colors of wine, the exhilaration of shared friendship and the water that quenches thirst. Antoni Tàpies reminded us that the drawing of a chair evokes in our memory the work of the artisan that built it, the tired body at rest, the absence of whomever had for a long time occupied it, and an infinite number of other sensitive universes. The chair’s emptiness, as that of the wine glass, is filled with our expectations, fertile with the opportunities life offers and denies us. This dialectic of fullness and emptiness constitutes the very essence of experience, and at the same time forms the original principle of sculpture.

Jaune centre, , 2012, Carrara white marble and acrylic, 9 x 8 x 10.2 in., 23 x 20 x 26 cm
Jaune centre, 2012.
Carrara white marble and acrylic, 9 x 8 x 10.2 in., 23 x 20 x 26 cm

In the 20th century, tension between fullness and emptiness became increasingly more essential for sculptural expression. Archinpenko, continuing the lineage begun by the cubists and the Russian constructivists, modeled space through color. The experimentation of Antoine Pevsner and Henry Moore bestowed, in turn, full expressive force upon emptiness. And finally, it was Lucio Fontana who transposed the issue of the third dimension in painting when he opened, with a slash of a knife, a great emptiness in the colorful surface of a canvas.

Orange-orange, 2012. Acrylic on PVC, 34.5 x 34.5 x 1.98 in., 87 x 87 x 5 cm
Orange-orange, 2012.
Acrylic on PVC, 34.5 x 34.5 x 1.98 in., 87 x 87 x 5 cm

Jaildo Marinho inscribes his work within this complex tradition, concerned with producing a variety of spaces that construct themselves around an emptiness and resonate with the tension between it and themselves. As familiar with theorists of Gestalt as of the Bauhaus, and holding great admiration for the work of Jésus Soto, he learned that the emptiness seperating two colors modifies our perception of surfaces, of depths, and of values. In Mallarmé’s poem “Un coup de dé” [“A throw of the dice”] the interval between two words gives them new significance, investing the interval with its own rhythm and singularity. Similarly, Jaildo’s canvases organize formal and chromatic devices that become richer through simple variation or contrast.” 

About Durban Segnini Gallery

Its present director and owner Cesar Segnini founded Durban Segnini Gallery in Caracas, Venezuela in 1970. The gallery specializes in contemporary painting and sculpture with particular emphasis in artists who have worked with abstract expressionism, abstraction, constructivism, geometric and kinetic art. Simultaneously, the Gallery strives to promote and diffuse new artistic values as well as the historical vanguards that have influenced them. Since 1992 exhibitions are open to the public all year round in their galleries in Miami, Florida, which includes the Coral Gables gallery in the border of the city of Miami and a new project in the Wynwood Arts District, an area where a group of major international galleries have concentrated. Worldwide, Durban Segnini Gallery is known for its expertise in such areas as the integration of artworks to architectural spaces as well as for its customized consultant services to private collections.


 

logo Durban Segnini grey 3072 SW 38th Ave.
Miami, Fl 33146
305 774 7740
Hours: Mon – Fri: 9 – 5; Sat 10 – 4
gallery@durbansegnini.com
www.durbansegnini.com

 

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