"Narciso Graffiti-A" by Hudinilson Jr. employs a dynamic blend of pastel shades with bold red accents, creating a layered composition of abstract forms and figures. The artwork features outlines of human forms intertwined with classical elements, like a pillar, capturing a sense of reflection and fragmentation. Utilizing the photocopy technique, Hudinilson distorts the imagery to abstract textures, reflecting his interest in self-exploration and visual perception. Created during the late 20th century, this piece conveys Hudinilson’s experimental approach and his pivotal role in advancing Brazilian contemporary art. ...
Hudinilson Jr. was one of the most important Brazilian artists of his generation, influencing the entire Brazilian artistic scene, not only through his personal work - produced between the 70s and 2000s - but also because of his active role as a catalyzing personality of artist groups and experimental exhibitions. Photocopy - the technique that became his favorite over the years both for practical and conceptual reasons - began to interest Hudinilson between 1977 and 1978. During this period, the artist learned to operate the machine to its limit, exploring all possible graphic possibilities; he enlarged details, cut them, widened again, distorting the images of his body to the point where they became pure abstract texture. He said that this exercise meant loosing oneself to seeing, an “exercise of seeing myself”, as he would latter name many of his series. ...
Founded in São Paulo in 2011, Galeria Jaqueline Martins is a space for research, documentation and presentation of contemporary artistic production. It proposes collaborative curatorial strategies that foster dialogue between different generations and different cultural perspectives. One of its guiding principles is the encouragement of research-oriented conceptualist practices characterized by critical, even subversive, approaches. Since its inauguration, the gallery has developed a special program around the investigation of artistic productions carried out during the Brazilian military period – more specifically from the 1970s and 1980s. It promotes a historical revision of processes grounded on strong intellectual resistance, audacity and commitment to art and which transformed the artistic practice in the country, but nonetheless were neglected throughout the last decades. By integrating research and practice that confront the contemporary scene by means of its exhibition program, the gallery encourages the revival of the debate that conceives of artistic actions as contact zones for the exercise of aesthetic, social and political change. In 2020 the gallery opened its second exhibition space, in Brussels, aiming to expand our presence in Europe and to develop a multidisciplinary program that will foster connections between our artists and Brazilian art practices in an international context. ...
