ANDRÉ DE ARAÚJO LIMA
Watch Chimes (From "For a Few Dollars More") ·Ennio Morricone
André Lima seeks to imprison memories, starting from old photos of family members, which he distorts and blurs. Establishing a longing between what was and the present. Gone is the time when the image was fixed, moving, even with stains from wear over the years, updating now with another form of reading and completeness. What was is no longer, another reality is installed, like an inheritance from the past.
The blur can be read as a technical intention, also as modesty, protecting the figures portrayed. Perception leads to intuiting the power of consciousness of memories in the experience of the present. What was imprinted on the artist's psyche is today expressed in a visceral condition. The present will always be a fragment of what happened, always containing real facts, fantasies or mistakes. It is also from mistakes that art is made. Those that we distort in capturing the real. Fantasy is inherent to human beings. André Lima lives in his works processes of memory, mistakes, fantasies, past, present and points to the future of a remarkable performance in Brazilian photography.
Cesar Romero
Memory, a constant driving force in my work, is a collection of fragments, a network of connections that extends from the mind and body like a vast labyrinth. I try to explore how these fragments connect and unfold, as if they form a mental landscape. My works often incorporate elements that represent complexity
of memories, mixing abstract shapes with recognizable objects from the past, present and future. Losses are an inevitable part of existence, and my work does not escape this reality. I address the feeling of emptiness left by significant losses. I often create spaces that
they seem incomplete, full of gaps and absences, reflecting the complexity of emotions that accompany loss.
A good example of using photography for artistic purposes is Um Dia para Corridas, by André Lima, in which he establishes an organic relationship between the architecture of the human body and movement, flesh and machine, in a sensitive mutual interdependence.
Dilson Midlej
Not case of Andre Lima, the fundamental conception of his work naturally takes us back to memory. Its latent meaning, however, does not refer to the vulgar idea that is normally attributed to memory – strictly linked to the past and memories alone. Distortion in old photos precisely implies movement, duration, unreconciled time. In this way, the transfiguration of the old, proposed by André, is the way in which – and in which – the past coexists and takes effect in the present. Henri Bergson states that “memory in no way consists of a regression from the present to the past”, in this sense it can be said, metaphorically, that these photographs tell us – at the same time as they search – about “the echo of a distant time that comes magically through the sand”
Laius Bishop
Purchase exhibition material
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