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.
This is what serves as the foundation of Jaildo Marinhoâ€™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 TÃ pies 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 chairâ€™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.
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.
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.