Woods hold in their characteristics the memories of the trees they once were. The weather and the passage of time, the air conditions and the incidence of sunlight, or the quality of the soil, nourish and mark, remaining as matter sensitive to our touch and look. In the vein drawings, we can recognize abstract shapes and paths through which the sap, the vital essence, once circulated.

In the memory of the life of these supports, Vinicius Parisi connects ink and gestures, thus creating a surface where the observer can also recognize himself. From this process, life pulsates again: the textures, shapes and colors of the woods used by the artist are crossed and mixed with the layers that constitute the human experience.

The paintings that we can see here reveal hues and fragments of human bodies that function as access vehicles. As we face each one of them, sinuosities, chromatic interactions, and forms surround us as a manifestation of what only a close eye reveals: the gradations and multiplicities of the subjectivities that form what we are.

In this new series, the artist explores the nature of supports and combines them with abstractions, patches of color from which figuration seems to emerge. In the same way that woods hold testimonies, the images constructed by Vinicius Parisi construct meanings and can tell a story. Just take a close look at the nuances and layers that are presented.




Lorraine Mendes, curator

INSTANTES is a trilogy of visual works that investigates the aesthetics of time in three moments. Since time is an inherently human concept, there is nothing more pertinent than analyzing its aesthetics from a humanistic and individualized perspective, of time experienced differently, at different times by different people.

Time research applied to production spills over into the works because Parisi circulates incessantly through the creative instances of planning, production, and criticism, resulting in a final work that is genuine and solid in concept, technique, and poetics. From such a degree of intimacy, contrasts emerge, such as that of the subtle and skilful layer of black paint that pushes us away out of respect, applied to exposed veins of the wood that invite us to touch.

To choose reading paths, the observer is confronted with universal concepts, such as that of time, resulting in an extremely relevant self-investigation process, where art acts as a means of transformation when supported by the foundations of existence. Concepts such as the formation of the whole human in the succession of its moments are necessary to be bothered by the idea that time passes and nothing remains, to be directed to the exaltation of feeling and to investigate the dusty boxes in the Bachelardian basements of our minds.

“Venturing into the unknown and being fascinated by not understanding.” Parisi
We venture into the unknown, driven by the discomfort that causes reflection and causes changes on the way to dignity in the human being. Accept and celebrate our ephemerality instead of being content with the illusion of eternity.




Luciana Guilarducci, curator