Paulo De Tarso

SÃO PAULO - 1955

Graduated in mechanical engineering from the Escola Politécnica da USP in 1977, he then worked in advertising (MPM, DPZ), marketing consultancy and taught at the Escola de Propaganda e Marketing.
Attended the studio of Carlos Fajardo in 81-82 and the sculpture school of Calabrone and Beccheroni in 83. M. Bardi, he worked in 84 with the sculptor Piero Moretti .

EXHIBITIONS IN WHICH HE PARTICIPATED:
1983 - I São José dos Campos Art Salon, São Paulo
1983 - X Santos Art Salon, São Paulo
1984 - III Contemporary Art Salon of Araraquara, São Paulo
1985 - X Ribeirão Preto Art Salon, São Paulo
1986 - IV Contemporary Art Salon of São Paulo
1986 - XIV Contemporary Art Salon of Santo André
1987 - XII Ribeirão Preto Art Salon, São Paulo
1987 - Brasília, DF Salão de Artes Plásticas
1989 - XV Salão de Arte de Ribeirão Preto, São Paulo
1990 - XVIII Contemporary Art Saloon of Santo André, São Paulo
1991 - Banco Sudameris Cultural Center,São Paulo
1992 - Pernambuco`s Contemporary Art Saloon, Recife/PE
1995 - Londrina`s Art Week at UEL, Paraná
1997 - 4th Contemporary Art Saloon of Bahia, Salvador/BA
1999 - 5th João Turim Sculpture Exhibition, Curitiba, Paraná
2000 - Rumos Visuais,Itaú Cultural, Brasilia
2005 - Collective Show 31 Outstanding Artists,Murilo Castro Gallery, Minas Gerais, Brazil
2006 - Mube- Galeria Mube- individual, May 2006
2006 - Applied Art Gallery, individual May 2006
2006 - Multiple Art Gallery, individual, August 2006
2009 - Arteinfinita Gallery, individual, June 2009
2010 - Collective Plural and Singular- Galeria Salaverry, Florianópolis, August2010

THE SCULPTURE OF PAUL OF TARSO:

"The engineer dreams clear things" - João Cabral de Melo Neto

The Pernambucan poet João Cabral de Melo Neto, master of the Geração 45, begins his book "O Engenheiro" with a poem - "A Paisagem Zero" - referenced in the work of the artist Vicente do Rego Monteiro. And after "The Ballerina", the one who "dances on the previous floor of the dream", he presents us with his remarkable poem "The Engineer", whose verses occur to us at the moment when we begin this text on the current sculpture by Paulo de Tarso, the engineer who became an artist.

With a degree in mechanical engineering from the Polytechnic School of the University of São Paulo, Paulo de Tarso opted for sculpture after studying advertising and marketing and working for two important agencies in the sector, MPM and DPZ, in São Paulo. Studies carried out in the early 1980s with Fajardo, Becheroni and Calabrone strongly contributed to his elevation, in addition to the contact, afterwards, by recommendation of P. M. Bardi, with the sculptor Piero Moretti.

Since then Paulo de Tarso has dedicated himself to this kind of work of art with a constructive spirit and acute sensitivity. The difference between Paulo de Tarso and many of his university-trained colleagues is precisely the capacity to dream clear things, like "the light, the sun, the free air", the poetic fullness and emptiness. And because he is capable of dreaming the blue of flight, he preserves his power as a bird, as another Brazilian poet, Ledo Ivo, would say.

Everything begins with "the pencil, the square, the paper; the drawing, the project...", as João Cabral suggests in his poem. The sculpture is born from a drawing, which becomes a model and finally occupies, with its metallic body, a place in space. In recent years Paulo de Tarso has created small table sculptures, floor pieces on a human or slightly larger scale and extensive wall reliefs, one of which is more than 7 metres wide. They refer to organic, vegetal forms, although monochromatic - white, black, red - or bichromatic and made with painted steel sheets that describe in space a clear symphony of curves and intertwining and that define his poetics. This production, which has lasted more than 15 years, has ensured Paulo de Tarso a place among the most significant three-dimensional artists in Brazil.

Without settling, however, with the accepted and admired, Paulo de Tarso began, last year, a new stage of his work characterized by the absence of the interlacements and undulations that so identified his work. Some of the pieces exhibited here bear a relation to his earlier work, but in many of them the rectilinear and volumetric character stands out. In them, curves dialogue with straight lines and the pieces often appear as a block. In others, the artist makes use of the resources of folding and welding and even of folded forms. Some are painted and others are not. The whole is convincing.

Paulo de Tarso dreams clear things. Parodying Fernando Pessoa, we could say that what he feels in him is thinking.

Enock Sacramento

Por: Galeria Zilda Fraletti