Tezos Art | August '22 | Curated by Jak
ZafGod
The Bird Whisperer
Astra
Guaraná
Pirate Bay
RenAIssance
Studio Yorktown
Alleles
Wierd Kids
Mauzen
The work Guaraná is inspired by the painting Carlota Joaquina, Infanta de España, Reina de Portugal by the Spanish painter Mariano Salvador Maella in 1785. The guaraná is a fruit originally from the Amazon basin, and the Sateré-Mawé indigenous were the pioneers in its planting. Guaraná was made to scale to the original painting, so 177 x 116 cm.
The body of work entitled Vermelho é a cor da paixão started in 2017. Those works are heavily inspired by the problematics around identity and the colonisation of Brazil.
This collection aimed to demystify the traditional portraiture of the European Expansion across the globe. The artworks are allegoric, each detail is placed meticulously, have a complex meaning and a history to tell.
Everything is contaminated to problematize history. My works are dense, convoluting and often chaotic, and the intricacy of the visuals is an attempt to attract the viewers towards it.
Also, the name Brasil comes from a tree called Pau-Brasil, named thus because of its red colour, that resembled embers of fire. This tree has properties that made it the first truly valuable product in the period of assembly of the Portuguese colonial system. “Ibirapitanga” was the name used by the native indigenous, that means in the Tupi- Guarani language red wood.
An allele, short for 'allelomorph', is an alternative version of a specific gene.
This collection (which is in no way scientifically accurate), was born out of an exercise in simplicity. Outputs are made up of arrangements of squares in various compositions, yet within that we are free to imagine what they could mean. For some, the resulting shapes might represent DNA strands or atoms. Others might see cells or the building blocks of the hereditary instructions that shape us as individuals.
the world is your oyster
Christopher Wheeler
Rez
a periodic oscillation
The Truth
Studio Captain
MunstrA
The veil of doubt clouds your mind.
no i really actually don't know okay
prettybad
Gin
Puzzles of the mind
Caving Wilde
North
Blue
Tim Maxwell
clownvamp
46: The Collaborator
Studio Yorktown
Love In The Time of Ramen
NFTs are DEAD
nor44
Gin
Fallen A Wing
part-A
part-B
part-C
Ballzerino
Asan-si
Nigiri
Studio Yorktown
Omiyage
Omiyage (お土産) in Japanese is commonly translated as 'souvenir', but is a little more nuanced. While a souvenir is often something bought for oneself to remember a trip, an omiyage is often a small present or gift (such as sweets, biscuits, fruit or preserves) given to others after travelling and is many times specific to the region in which it came from.
Uğur Aydın
Through the Dust
The wild and freedom-loving Yılkı horses, which live on the outskirts of Erciyes and eastern gate of the Cappadocia region, create unique images in every season. Cappadocia, as it is known now, is Persian for "Land of Beautiful Horses." Horses are the most important means of transportation for the people living in Hörmetçi village. All the children living in the village learn to ride horses from a young age and show their skills on horseback as little shepherds. These little shepherds herd sometimes horses, sometimes buffaloes, and sometimes sheep.The most important assistants of the little shepherds who lead the Yılkı horses are the dogs whose number is 9-10. They lead the horses like shepherds.
Claire Ujma
Summer dreams
Arriving at dawn, waiting for the suns’ rays to light up and bring to life this beautiful bay. A scene well worth waiting for and impossible to capture when the bay fills with tourists.
Circo
A thousand miles from home
Ertugrul Incel
Şal Ebrusu / Marbling Art CE #2
Meloman
The Sands Of Time
The angel told us to walk through the sands of time till we find the Golden Visionary. Time taught us patience.
Anna Beller
2S 008
Baltazar Garden
NaturalGarden "Romantic English garden#04"
joe gudwin
gm number 34
mister and the baby
Wasteman Goldmineovich
& Minta
Last Updated: Sept. 8, 2022
Through the reframing of Eurocentric aesthetics, I want to present a new possibility for the traditional visual and discursive interpretation that had been imposed via the hegemony of Western culture translating in the romanticization of colonial portraiture throughout history.
In Guaraná, the pictorial elements are inverted via the use of bold colours and the mixed media technique itself. An empty birdcage replaces the canary that rests in Carlota’s fingers seen in the original painting, and it is as if this animal represented Brazil itself. The naive and delicate bird, perhaps also symbolise the “docile” and trustworthy aspect of how the native people of Brazil reacted towards the Portuguese invaders during that time.
In my version of the painting, the empty cage represents a symbolic and ideological space in which Contemporary Brazilian society seems to sustain their paradoxical sense of identity. Carlota Joaquina Teresa Cayetana de Bourbon (1775-1830) was born in Aranjuez, Spain. She was the Queen consort of Portugal, Brazil and Algarves and Empress consort of Brazil.
She was extremely ambitious and since the arrival of the Portuguese crown in Brazil in 1808, she began to conspire against her husband, D. Joao VI claiming that he was not able to govern and that she should be in power instead.
Her liberal attitude was very different from the values of other women at court. She was particularly criticized by Portuguese men who disapproved of the strength and resourcefulness with which Carlota Joaquina occupied, especially the public space and her keen taste for politics.
If we consider that most of the women of that time were deprived of social participation, Carlota's transgressive behaviour made room for many malicious rumours regarding her moral conduct to be raised by the court.
My interest in Carlota Joaquina started very early, as she was especially famous in Brazil and was a very important historical figure as well as being part of the popular culture of my country. Despite the negative aspects of Carlota's personality, I can not deny that many of her personal traits fascinate me. And at several moments in my artistic career, I used her image as inspiration for self-portraits.
Finally, the excess of the colour red is to demonstrate the violent nature of colonial processes, and the reason why Carlota appears faceless in the painting is to allude to the erasure of female narratives in history and the difficulties faced by women to have agency.