Sao Paulo Brazil
Gabriel Pitan Garcia’s first solo show, Sopro (Breath) features large drawings made of various materials, such as silk, aluminum, and cardboard, and distinguished by a monochromatic palette that emphasizes gray. Spirals, tornadoes and whirlpools reveal a voracious gesturality recurrent in the work, “a whirlwind in the head and in the soul,” in the words of Thiago Honório, who signs the curator’s text.
JAN 28 – FEB 17 2023
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A certain storm, a whirlwind in the head and in the soul, throbs in the traces rendered evident by the most varied states of mind, dilated by surfaces with various textures: hard, interrupted, shattered traces, made with graphite, more slippery and calligraphic when carried out with India ink, more blurred and elusive when executed with charcoal, or even more continuous and uniform if produced with a permanent marker. Still about this whirlwind, it is not fortuitous the kinetic presence of the spiral, the tornado, the whirlpool (a given voracity), which is recurrent in them.
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Gabriel Pitan Garcia
Sopro, 2020
Carvão, caneta permanente, tinta acrílica, papel alumínio em papel fabriano
140 x 199 cm
Gabriel Pitan Garcia
Sonífero, 2021
Acrílica, carvão, grafite, marcadores hidrográficos permanentes e tecido sobre papel
196.50 x 140 cm
Gabriel Pitan Garcia
Uma volta, 2022
carvão, grafite, acrílica, óleo e impressão fotográfica sobre papel
155 x 210 cm
Gabriel Pitan Garcia
EdredOhmmmm, 2021
Acrilica, carvão, papel alumínio, papel cartão sobre papel de algodão
219.50 x 150.50 cm
Gabriel Pitan Garcia
¿Qué sé yo?, 2020
Tinta acrílica, nanquim, caneta permanente e carvão sobre papel
80 x 50 cm
Gabriel Pitan Garcia
Gota, 2022
Óleo, acrílica, grafite e carvão sobre papel
363 x 162.50 cm
Gabriel Pitan Garcia
Dois lugares ao mesmo tempo, 2021
Acrílica, carvão e acetato sobre papel
200 x 280 cm
Gabriel Pitan Garcia
Equação de três momentos, 2020
Naquim, acrílica e carvão sobre papel de seda
120 x 145 cm
Gabriel Pitan Garcia, a member of the very new generation of Brazilian art, displays the marks of restlessness and experimentation, in a production of a strongly personal nature conceived as an open diary, made up of pages of challenging breadth. In paintings and, more recently, drawings, perfected during the pandemic, Gabriel Pitan Garcia (São Paulo, 1994) sometimes captures his surroundings and the energy of the people around him; at other times, he dives into explicit records of an intimate and profound place. In both cases, he has a free gesture, without restricting himself to techniques, and also freely explores media and materials to give body to his work. Using the possibilities of drawing and collage, Pitan Garcia brings together cut-outs, fabrics and papers, creating images that sometimes indicate portraits, sometimes build landscapes dominated by strange creatures and fragments of bodies.
+ moreThe reduced color palette (blacks, whites, ochres and greys) further enhances the recording of a nervous but precise gesture. The same operation takes place on the canvases, conceived from the appropriation of objects, where impressions of their social and family surroundings result in a range of textures, imperfections and volumes: pieces of clothing, wires and plants, covered in thick layers of black acrylic paint, are thus imprisoned on the canvas, as if challenging the perishability – of the materials and the emotional charge they contain. A graduate in Visual Arts from FAAP, Pitan Garcia, who now lives and works in Barcelona, Spain, was a member of Casa Dez Barra Doze, a collective of studios in São Paulo, and was one of the founders and managers of BREU, an independent art space also in São Paulo, which hosted exhibitions, workshops, courses and debates.
