Evandro Carlos Jardim

Evandro Carlos Jardim (São Paulo, 1935) began his work in art in the 1950s. He frequented spaces such as the Assis Chateaubriand Museum of Art of São Paulo (Masp) and interacted with important figures in the history of modernism in the city of São Paulo, including Sérgio Milliet (1898-1966). In 1953, he enrolled at the School of Fine Arts in São Paulo, studying with Joaquim da Rocha Ferreira and Vicente Larocca. Through the biennials, comes into contact with part of the international modern production. He became interested in artists such as Edvard Munch (1863-1944), Oskar Kokoschka (1886-1980) and Giorgio Morandi (1890-1964). During college, he started in metal engraving with Francesc Domingo Segura. In his early works, etching resembles drawing. Jardim scratched the copper plate with a burin and drypoint, seeking technical improvement. Progressively, the number of areas engraved on the plates increased. The shapes are achieved by mastering the techniques of etching and etching. In his etchings from the 1960s, the artist relates different technical and aesthetic registers. We see more realistic figures combined with geometric forms and gestural graphics. In the series Interlagos, 1967, he mixes large black forms with stained drawings of the urban landscape. After a long teaching career in secondary school, he began his career in higher education, first at the School of Fine Arts in 1970, and later at the Fundação Armando Álvares Penteado (Faap) and the School of Communications and Arts of the University of São Paulo (ECA/USP). Performs in 1973, the individual À Noite, in Quarto de Cima, Cruzeiro do Sul, Lat. Sul 23º32'36", Long. W. Gr. 46º37'59", at Masp, where he presents etchings and three-dimensional objects in bronze, iron, aluminium and wood. In the prints, he works with a reduced repertoire of images. The same forms appear in different works, with new meanings. Already at this time, as in much of his mature work, he takes advantage of different graphic registers and art genres to represent everyday images and themes. From 1976 onwards he produced detailed prints in which he explored still life, portraiture and landscape. In the same decade Jardim began to paint with greater intensity, encouraged by his dealer, the artist Antônio Maluf (1926-2005). In the 1980s, the figures gain more independence. Jardim does not set the scenes, nor establish hierarchical relations between the printed forms. The figures have no formal link, they are juxtaposed. They are associated by their proximity to the paper and, together, sew narratives about the city of São Paulo. In 1991, he exhibited the series Jacentes Figures at Galeria São Paulo. There, the relationship between the elements is even more rarefied. The artist distributes the images on blank paper, stained and divided into quadrilaterals. The images follow no order, establishing unexpected relationships with one another. source Itaú Cultural

Por: Galeria Gravura Brasileira