In "Que dia feliz hoje ainda vai ser", the first solo exhibition of the painter Guilherme Ginane (1980) at Millan, the artist based in São Paulo presents a set of ten works in the ground floor of the gallery, divided between five screens and five roles.
The solo, which marks the entrance of Guilherme Ginane to the group of artists represented by the Millan, is accompanied by a beautiful critical text signed by the writer Bernardo Carvalho.
In the words of Bernardo Carvalho, "the objects on the desktops of Guilherme Ginane also have an autonomous and strangely irreconcilable existence. Cigarettes, matches, pots of flowers, books etc. overlap the table, which oscillates between background and surface; they flow like ink on the canvas, float on the table, rather than rest on it; table the prevalence of parallel plans and incompatible perspectives. There is a struggle with painting, which has very little to do with rest.
(...) The change in perspective of the plan, its apparent mobility, results in a metamorphosis of things: the gaze that previously fixed carpet strips on the edges of the tables now sees walls; the cup was turning into a lamp on the top of the board. That is to say, the plane rotates, tilting without tilting, inclining as if it were to gain three-dimensionality, although it remains flat, and in this strange inert movement (the plane that turns without turning) objects are also transforming. The picture incorporates more than one perspective, sometimes incompatible perspectives on the same plane, so that objects become others, while remaining the same. In Ginane's painting, this cohabitation of plans represents an arc, a change in the perspective of the looking subject (artist and spectator), it refers to an experience in the world.
(...) The difficulty of a background that is at once infinite and surface, represented by the tactile evidence of the brushstroke, of the superimposed layers of paint, already had an assertive and destabilizing function in previous works: the foreground figures - chairs , cigarettes, cups etc. - lost in space, had their perspective, their three-dimensional autonomy, contradicted by the depthless, two-dimensional and opaque background in which they ended up merging. Even later, when the table tops and carpets appear beneath the tables, the two planes are still blurred by a telescopic effect on the same surface. There is a tension and a viscosity between things and planes, both diverse and one. "