They are entertaining pieces. We can play with them. We can conjugate them in thousand different ways and the result never stops surprising us. However they are absolutely alike. In dimension, in colour, in image graphism, in materials, painting and acrylic on wood structures. To Manuela Xavier, sculptress and almost architect who studied Plastic Arts in “Cooperativa Árvore”, in Oporto, these boxes reflect the dynamic, the rhythm of architecture that plays with colours, volumes, repetitions, in a never statical way.
Previous note about plastic arts: I have the same idea than about music or literature – they exist to serve my whishes, my whims, my will. Shall my wishes be satisfied, assuming that to the art I will not satisfy any will, whatever will it may be. That is settled. So, let`s proceed: I have not the slightest idea about the relevance of Manuela Xavier art. And, if you want to know, I don`t care. I like it because, as well as the children who are sincere even when they don`t know why.
The work of artist and especially the painter is a solitary activity and reflective by nature, drinking in the sources of inspiration and personal references and cross the author. In this particular case, Manuela Xavier plasmas on their screens a set of aesthetic intentions naturally reflective in nature, designed to show a way of cross-references that focus on the maturity of thought and its ways of visual expression.
How can we explain the strong attraction that Manuela Xavier`s works exert upon the spectator? Through the colour, because of the unusual conceptualisation of space or because it is difficult to define the frontier between painting and sculpture?
To grasp Manuela's work is thankfully demanding. The artist refuses herself to be bound to a simple perspective. Serene, smart, spiritual, Manuela turns the simple into wise, the mirror of her soul. This time the artist changes the game, she shows the Light through the layers that are covering the Painting of the paintings. She subverts the rules of the game, creating her own complex rules. Layer by layer, the art returns itself, revolving the deepest of mankind – the art that ignores any rational language. Here the complex substitutes the temporary Light – the illusion.