Following a series of meetings with our represented artists in their art studios, this time, Gabriel Secchin welcomed us in his space – on the rooftop of an old three-storey building, located on São Clemente Street, which spans over the Botafogo neighborhood in the south side of Rio de Janeiro.
We are immediately surprised by the view, which gives us two alternatives, thanks to the generous arrangement of a prominent balcony. On the left, a bit closer, the Sugarloaf Mountain appears majestic; on the right, a little further, in a “corner” perspective, is the Corcovado hill with the statue of Christ the Redeemer. The corridor formed by the street and by the prolonged buildings that impose themselves on the remains of colonial architecture ensures favourable winds and an extra refreshment for extremely hot weather.
Inside the studio, the paintings seem to regurgitate this iconic tropical setting and follow their internal rules. Gathered on the wall, they reveal a critical impetus or a willingness to comment on the state of affairs. The slowness of time caused by the pandemic in the last few months has allowed the artist to enjoy more his creations, which in a way has encouraged his willingness to find a “ground”. Landscapes and places have taken shape and expression.
New narratives have also been created through exercises of juxtaposition, from which unusual situations arise, as in a role-playing game. The use of the oil stick, in dialogue with a less calculated drawing, makes possible the error.
Among the highlights of this new body of work, there appears almost unwillingly – and at the limit between bursting and submerging – a familiar figure of “Brazilianness”, a concept that seems to live a certain trial (or purgation, for the most fatalistic people). In other paintings, violence manifests itself in different nuances – as a retaliation of nature, represented by a playful anthropomorphism; as a reactionary intolerance, indicated by the reenactment of exceptional judgments; or when the boundary between fetishism and mystification seems to blur.
In all of them, Secchin’s multi-referential universe unveils an atmosphere that seduces, both for the discomfort it causes and for the oddities that inhabit it. Take a breathe, allow yourself to feel comfortable and get involved.
Check the gallery below for some pictures of the visit.
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Pictures gallery
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Bio
GABRIEL SECCHIN was born in 1989, in Rio de Janeiro (RJ, Brazil), where he lives and works. Graduated in Design from PUC-RJ, he studied painting with Luiz Ernesto and Bruno Miguel at the Parque Lage School of Visual Arts (EAV), also in Rio de Janeiro.
In his artist practice, Secchin has a special interest in the contrasts and in the visual and conceptual tensions of elements that, albeit coming from different contexts, are impelled to develop a dialogue together. With doses of humor and satire, his works in painting explore the incongruity of some aspects of human life. According to the artist, there are recurrent pictorial instruments that act as baits for the observer to have access to unpredictable, delicate, banal or even irresponsible elements, capable of generating some level of discomfort.
Among his most important solo shows, we highlight: “Autoclave”, curated by the artist, text by Victor Mattina, Portas Vilaseca Galeria, Rio de Janeiro, RJ, Brazil (2019); “Golden Era”, in collaboration with Felipe Barsuglia, curated by the artist, with audio/text by Negro Leo, Salão Lenny Niemeyer, Rio de Janeiro, RJ, Brazil (2019); “Stracciatella/Flocos”, curated by the artist, GC2 Contemporary, Terni, Italy (2017); “O Testemunho”, curated by Bernardo Mosqueira, Portas Vilaseca Galeria, Rio de Janeiro, RJ, Brazil (2014).
In the last years, he has participated in several collective shows, including: “MOLT BÉ!”, curated by Raphael Fonseca, Portas Vilaseca Galeria, Rio de Janeiro, RJ, Brazil (2018); “Projeto Farol–Alegoria”, curated by Luiz Ernesto and Bruno Miguel, Sérgio Porto Cultural Space, Rio de Janeiro, RJ, Brazil (2017); “Glimpse”, Pilotenkueche/Spinerai, Leipzig, Germany (2016); “Pra Começar”, curated by Jaime Portas Vilaseca, Portas Vilaseca Galeria, Rio de Janeiro, RJ, Brazil (2015); “New Acquisitions 2012/2014 Gilberto Chateaubriand Collection”, curated by Luiz Camillo Osorio and Marta Mestre, Museum of Modern Art – MAM, Rio de Janeiro, RJ, Brazil (2014); “9º Abre Alas”, curated by Daniela Castro, João Modé and Alexandre Sá, A Gentil Carioca, Rio de Janeiro, RJ, Brazil (2013); among others.
Secchin has also participated in art residencies in Germany (Pilotenkueche, in Leipzig, 2016) and in Iceland (Wildfjords Artist Residency – WFAR, in Isafjordur, 2015). His works are part of the Gilberto Chateaubriand Collection at MAM – Museum of Modern Art, Rio de Janeiro, RJ, Brazil.
For more information, check the artist’s profile page here.
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Following all WHO protocols, this visit respected the social distancing and use of mask requirements.