In EXPO PASSADA

Constança Meira

Isolamento e Silêncio

Galeria Sá da Costa

 

Opening: Thursday, October 21 | from 5 pm to 8 pm
Exhibition: from 22 October to 20 November 2021 | Monday to Saturday, 2:30 pm – 7:00 pm
Rua Serpa Pinto, nº19, 1200-443 Lisbon

In “Cofinement and Silence“, Constança Meira presents a series of mixed technique works (monotonies and collages) on paper, carried out in 2020, during her confinement. Using her experience during this period, the artist established a dual universe between good and evil, angel and devil, beauty and bestiality, creating a bridge between the every day and the supernatural. 

Organized by Ocupart in partnership with Sá da Costa Arte, the exhibition “Isolamento e Silêncio” can be visited from October 22nd to November 20th, from Monday to Saturday, from 2:30 pm to 7:00 pm at Galeria Sá da Costa, Rua Serpa Pinto, 19, 1200-443, Lisbon, or at other times by appointment to geral@ocupart.pt or a.sadacosta.mi@gmail.com.

 

Fragments of an inner speech

by José Sousa Machado 

The works of Constança Meira now on show at Galeria Sá da Costa, brought together under the title “Confinement and silence”, are epiphanies sometimes of a Tenebrist flavour, at other times a Victorian one. They are intimate narratives populated by real beings and ‘imaginary’ entities from other realms of existence; plots experienced, remembered or recreated by the artist in a soliloquy of prolonged silence and confinement.

In a text I wrote about two years ago about the monotypes and collages by Constança Meira, I stated that they are beyond the particular circumstances of their author, beyond the world and beyond time. They carry within themselves a seed of timelessness that gives them permanence and universal qualities; they emanate some mysterious beckoning from the root of being. Their expressiveness scrutinizes the Other Side, somewhere along the line that leads from pain to contemplation.

As well as before, also now, the artist represents herself simultaneously as a private person and as archetype in many of the works exhibited, swinging, in a continuous to and fro, between the real and the symbolic, between good and evil, between life and death. Her memories are frescos painted on the walls of memory. 

Deeply touched by ancient Italian painting – especially fresco painting -, in which time has sealed with patina its inevitable course and the pledge of its status as co-author of any human undertaking. Marked, as I said, by this ontological awareness that carries life and death in the same path, Constança Meira developed a creative technique of painting by direct tracing the colour on the support, providing her works with an identical aura of timelessness and symbolic synthesis – as if her paintings carried within themselves the entire history of human culture, the artist being the repository of all the time in the world and the events that define it. Any gesture of hers reflects and carries this holistic burden

In the current exhibition, this expressive density is amplified by the conjugation of colourful monotypes cut out with details from emblematic paintings of universal culture, configuring fragmentary puzzles, compositions in many voices, novels of spatial-temporal lines that shoot us in many directions, the crumbling of current notions of perspective – hooded individuals, wrapped in rich drapery, coexist with terrifying serpents, childish girls, shattered monsters and gentlemen with tall hats and respectable and moralistic looks. A litany of excesses.

 

Constança Meira

Constança Meira is an artist with universal references; was born in Paris, 1965, studied in Cleveland (Ohio, USA), in Florence, and in Lisbon, where she resides. Her paintings resonate with Italian Renaissance frescoes and the modern deconstruction of the “New World”. Her works “are epiphanies that resonate beyond; they are images that are beyond their author, beyond the world, beyond time. They carry within themselves a seed of timelessness that gives them permanence and universal qualities; emanate any discreet nod from the root of being”.

"The innocence", 2020
Colagem com Monotipia, 26 x 18 cm
Fotografia de Carlota Costa Cabral