Opening Tuesday, June 21st, Sandra Antunes Ramos presents her second solo show at Galeria Millan, comprised of four sets of new works assembled over the gallery atrium, main room and hallway. They’re new series of drawings, unseen collages and also sculptures – types of “drawings turned three-dimensional”, which come out of the paper and gain volume and a geography of their own –, made of brass and covered in automotive paint.
With approximately 70 new pieces, the exhibition, named after the artist, is an evolution of the thorough and daily work Sandra has been developing for some years now. The choice of colored pencils and – metallic or ball point – pens as the main tools, for example, has a reason: “While the paintbrush is based on the scale of the arm, the body scale, the pencil comes from the hand scale. And the concept of the whole work comes from this fragile, subtle and detailed scale, which allows impulsiveness to come out”, explains Sandra. She cites a very clear example of her work method: “I knit and crotchet with needles, also in my own hand’s scale. I’ve tried a weaving machine once, which follows the arm scale, and did not like it”.
The consequences of this practice are new series of obsessive yet delicate works in small scale (the largest ones are 11.02 x 13.98 inches long at the most). But now Sandra presents a second set of works, in which the collages with different kinds of materials, such as waxed and tracing paper, join in the drawings. The foundation of the works – also and always the paper – is still fundamentally important conceptually, adding to this a new attribute: transparency. As art critic Alberto Tassinari said in his essay “Disposições Sem Fim”, which was shown with Sandra’s first solo show, “there’s a white from paper, a paper skin, which remains untouched. And which receives (geometric or not) shapes and the colors filled out by pencil without changing its shape or size. From beginning to end, the paper remains independent, a place for all, although it receives the rest with such subtleness and kindness that one could talk about real hospitality here”.
In a very thorough, subtle and delicately feminine artisanal work, Sandra Antunes Ramos creates pieces “the size of things a hand catches”, as Tassinari observes. “They’re works that fit more properly a quiet corner of a house or something like this. They need to be looked at closely, or they won’t pulsate. As one gets near them, it’s as if the sight opened them with wide-angle lenses. Or, still, with a sharp focus, either here, or there, on the surface of its endless movements. They don’t fill the room, but flood the sight”, sums up the critic.
To sum up her poetics, we could also use the words of artist Paulo Pasta, who says Sandra’s work is organized from “a very powerful vagueness, which stands between ‘recognizable’ and ‘created’. It stands in a place between figurative and abstract art. And this ‘in between’ place seems to be personal and different from a lot of things we see around these days”.