24 Apr. 2004 // 18 Oct. 2004

Drawing Techniques

Júlio Resende

Galeria do Acervo | Collection Gallery

I dare state that in art, technique goes unnoticed. Lest I am misunderstood, I shall add that all statements are valid in themselves, and this also means that I do not belittle the ability to externalise this statement.
Technique is a means of …
For some reason, I find myself resistant to the exhibitionist techniques of a Paganini, although he is recognised as having been the greatest of virtuosi.
In principle, the painter has no violin, but rather various methods that require as many techniques, which he uses according to circumstance. Watercolour, pastel, gouache, pencil, China ink, etc, are “quick” techniques that I use in my frequent ramblings. I rarely used photography, believing that the use of a pad of paper would bring advantages to emotional annotation.
Other techniques, let’s call them “studio” techniques, such as engraving, monotype, collage, mixed technique, form the reference link to oil, acrylic techniques, etc. It is easily perceived that the former result from what I call in loco experience, while the latter are subject to a state of mind.
They all have variable relevance according to the aesthetic profile of the technician, and can even be considered useless for their association with other creative proposals such as those that are based on a performance project. So it should be said that these are the works that are part of the collection exhibition. It will be up to the visitor to make the small effort of telling them apart in terms of the purposes that generated them. Let it be once more stated that they are not conclusive works but rather personal records, fragments which in the circumstances were grouped here for the overall understanding of a whole.
I was moved by no other purpose, when exposing these bits of paper, humble physical presences, than to account for a life of searching, through the dim mists of doubt, with the hope of glimpsing a light that might correspond to the supreme objective of my painter’s conscience.
This search will make no sense without being shared as a brotherly sign of a hopefully universal Harmony.

March 2004
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