Description The technological world offers numerous devices and processes for use by artists. But in most cases they look like black boxes to their users, especially to those who want to get results other than the conventional ones.When he wanted to make art with the resources available at the frontier of new technologies, the author was obliged to answer several questions, including his technological competence to intervene creatively in this process.To do so, he deepened his knowledge of the machines, his work environment, the definition of algorithms, and established some objectives to be observed in the creative act:That the result of the process was not merely a conventional computer-generated drawing or painting;That the features which most clearly characterize digital images and give them their own identity should be used as a matter of priority;That the creative process had some playful character and offered the surprise factor due to some randomness in the creative process;That, finally, the poetics should be present in the finished product
Henrique Azevedo, Salvador Member Since October 2017 Artist Statement Henrique Antonio de Barros e Azevedo is an engineer and postgraduate in several specialties.
A self-taught artist, he began his studies in the visual arts and photography in the 1960s, developing numerous studies and exposing his works in various collectives, among them: –
Brazilian Association of Photographic Art (ABAF) – 1964 – Photo; XVI National Salon of Modern Art, RJ – 1967 – Drawings; XVII National Salon of Modern Art, RJ – 1968 – Woodcut; First National Hall of the Small Picture, BH – 1967 – Woodcut; IV Salon of Contemporary Art of Campinas – 1968- Woodcut; II Bienal da Bahia – 1968 – Woodcut; Atelier Livre de Artes Plásticas – Palace of Culture -1968 – Woodcut; The Brazilian Engraving – National Historical Museum – 1968 -Woodcut; Summer Salon – MAM of Rio de Janeiro -1969 -Woodcut; Palace of the Arts – Rodin Museum – Salvador -2013 – Digital Images, In 1968, about the works exhibited at the XVII National Salon of Modern Art in Rio de Janeiro, the critic Frederico Morais, in an article in the newspaper Diário de Notícias, said: “… Henrique Antonio de Barros e Azevedo makes smart use of signs and traffic signs as if replacing the anonymous crowds of cities with his good technical level …”
At the same opportunity, he received an invitation to submit works for possible acquisition from curator Elaine L. Johnson of the Museum of Modern Art – MOMA, NY, during a visit to Brazil.
From 1970 onwards, for professional reasons, he was forced to leave the Exhibitions Circuits. Since then, he has become interested in digital art, developing, with the aid of the computer, numerous experimental graphic works, thus going through various forms of expression.
Recently, the art critic Vera Pedrosa on the subject of his works exposed on the web so said, in a message sent to a mutual friend:
“ Fernando, Salut!
I have carefully considered the various lines of work of your friend Henrique, who stand out from detail and precision, I suppose, associated with their formation and scientific aspects. From the outset, without seeing the curriculum, I thought that the work had arisen less from the artistic experience – because it lacked the “painterly” element – that of the visual games and the cerebral perceptions to focus on the new modalities of graphic, cinematographic, Advertising, multimedia techniques – or those that flow from or feed each other. When I saw the curriculum, I understood that it was from the woodcut, and therefore from a manual one, and that his adventure would perhaps be to confer humankind and perhaps warmth to computer creation. Since I do not know the support of the works and only saw them on the computer, I do not know how I would react to them. Would it be printed on paper or other media? Designed? Luminous, immense? Or boxes to be placed on a table, a wall? In any case, there is an extraordinary virtuosity and, it seems to me, great beauty, refinement and variety in geometric experiences (boxes, boxes, effects, spheres). I have no idea how he can get these results, which I felt like the most interesting among the various series.
The color experiments that look like cubist abstractions are beautiful, but they would probably be more warm and immediacy if they were really hand-painted screens. If they are printed, I think they will look like reproductions. If they are projected, the effect would be another, which I do not know. I was not attracted by the interference of color photographs with human models, unless they are studies for application in films, videos, documentaries or other “installations”. The other colorful works with flowers and other themes have something very current, very “now”, pop and manga, something that is on the crest of the wave (the current work of Vic Muniz, Beatriz Milhazes) but that I see more as a commercial aspect , For application in objects, fabrics, clothes, decorative panels, which as an “artistic” research. Although traditional fabrics and ethnic utilities are so often