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INVASÃO



This is a work in progress. I am working in a to- scale reinterpretation of the painting Garden of Earthly Delights by the Dutch painter Hieronymus Bosch since 2018. This piece will be part of my ongoing collection called Red is the colour of passion that explores the legacy of the colonial settlement in Brazil. The painting aims to propose a reflection on the past, present and future times in Brazilian society. And this story will be spread throughout the three panels, each one symbolizing a historical moment. In the work Invasão, I am depicting the arrival of the Portuguese invaders and the legacy of colonialism in Brazil throughout time.



Digital mock-up of the work Invasão.

Right Panel: Prior to the Colonization (Folklore and Indigenous Mythology, the so- called Pindorama (The Land of the Palm trees);

Central Panel: 1) The Arrival (Portuguese culture and portraiture);
                             2) Colonial Period (Resistance, Independency, Monarchy and Eurocentric influence);
                             3) Decolonised space (Indigenous & African culture, miscegenation and cultural exchange);
Left Panel: Contemporary Society (Issues related to the Colonial legacy in Brazil, such as corruption, endemic violence, structural forms of prejudice, the current political and social scenario).



Invasão | 2018 - ongoing | acrylic and watercolour on canvas | 100 x 200 cm | not available

The whole piece features only famous colonial paintings and photos of iconic moments in the contemporary history of Brazil, such as the fire in the National Museum in Rio de Janeiro in 2018 and the case of Amarildo de Souza. Similarly, a lot of those images resonate to people in Brazil, and are part of our collective unconscious, and my main desire here is present another possibility for the traditional understanding of 'Brazilian' history, identity and subjectivity. In the long-term this painting will result in the creation of a catalogue entitled Histórias Recontadas (Retold Histories).This catalogue will be an extensive critical analysis of the references used in all the three panels that compose the work Invasão.

My main desire here is present another possibility for the traditional understanding of 'Brazilian' history, identity and subjectivity. Finally, this piece aims to propose a reflection on the past, present and future times in Brazilian society. And this story is spread throughout the three panels, each one symbolizing a historical moment and the legacy of colonialism in Brazil.




Detail of the work Invasão: In this image we see references to the Bolsonaro’s supporters in the beggining on the Covid spread in Brazil during protests. In the image, she appears coming out of the Temple of Solomon, a pharaonic Evangelic church in São Paulo that is an "exact replica" of the ancient Temple of Solomon in Jerusalem. There is also references to the Eliza Samudio case and the Embratur's advertisement broadcasted in cards, in the early 80's, and distributed outside the country where we see four women in bikini at Copacabana beach, what seems to be a clear invitation to sexual tourism in our city & country.


Detail of the work Invasão: In this image we see references to the hijacking of the bus 174 that was a landmark episode in the police chronicle of Rio de Janeiro, Rafael Braga who was arrested in the June Raising in 2013 for carring a bottle of Pinho Sol. The June Raising were a series of mass mobilisations that occurred simultaneously across the country. It can be characterized as the first insurrection or popular uprising of truly national proportions in the country. And lastly, a photography made by Daniel Arroyo / Ponte of a Bolsonarist supporter wearing a shirt that refers to an eternal return of the military dictatorship among others.




Detail of the work Invasão: In this image we see references to the case of Cláudia Silva Ferreira who was brutaly murdered by police in 2014 and was dragged by a police car across the streets of Rio, the Paraisópolis photo taken in 2004 by the photographer Tuca Vieira who become an iconic image of the social inequality in Brazil, a photo of Claudio Pracownik, who became the character of the famous picture in which he appears with his wife and a nanny with their two babies during protests in support of Bozo. We also see a reference to the case of Amarildo de Souza, and finally a police officer holds a girl during an approach outside the Capitão Virgílio Garcia school, in São Simão (SP), in a 2014 photo by Milena Aurea.





Detail of the work Invasão. Inspired by the painting Operários of Tarsila do Amaral, 1933.

Detail of the work Invasão. Here, we see references for the poster of demonstrations held weeks before the civil-military coup of 1964, the Isabella Nardoni case, the Mothers of May project that supports victims of state violence in São Paulo, and an image of teacher Lenita Oliveira by Fábio Motta where she is facing a police barrier alone. 



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PINDORAMA EXISTE E RESISTE. All rights reserved to Sabrina Collares, 2021.