Art and Spirituality
To celebrate the end of the year, we have selected a few artists whose work focuses on the relationship between art and spirituality as a way to connect to their origins and in search of self-knowledge. Check out the selection below:
Art and spirituality coexist. More than that, they travel through time, looking for new ways to make themselves present and reflect society's concerns. In the 1970s Amelia Toledo (1926 – 2020) collected shells, stones and other materials in which she subtly interfered in order to represent nature in the most genuine way, as a revival of our ancestry and connection with the planet. She also recreated landscapes, with monochromatic nuances and inspiring luminosity. In the same period, Claudia Andujar (1931), also started her activism in defense of the Yanomami indigenous people and, since then, she has been responsible for thousands of powerful records of the daily lives of people in shamanic rituals and activities in the forest, in addition to being the name in front of the complaints of disease, violence and pollution caused by mining activities.
Amelia Toledo, Impulso, years 2000, 128 x 29 x 26 cm.
Through art, spirituality can resonate intimately or collectively, always capable of creating deep connections with our origins, whether it is by nature or a deep search for the self. In contemporary times, Regina Vater (1943) re-elaborates elements of Afro-Brazilian and indigenous culture; Jarbas Lopes (1964), operates outside capitalism, valuing craftsmanship and bringing the viewer as part of his installations.
Claudia Andujar, A jovem Susi Korihana thëri em um igarapé - Catrimani, Roraima - from the series A floresta, 1972/1974, 100 x 150 cm
Regina Vater, Oferenda ao Ancestral, 1988, 121 x 10 cm.
Jarbas Lopes, series Desenhos Cicloviatransamazonaérea, 2021, 32 x 23 cm @ Edouard Fraipont
Ayrson Heráclito (1968), a Candomblé practitioner, thinks of art as a healing mechanism; Tadáskía (1993), moves between supports in search of material and immaterial relationships that can arise between the world and living things, from the black diaspora and both familiar and unusual encounters; Ernesto Neto (1964), creates sculptures that allude to the human body in its depth, in addition to using spices extracted from the earth as raw material.
Ayrson Heráclito. Bori, 2008 - 2011, 60 x 60 cm (each)
Tadáskía, Asa e sol dois, 2021, 136 x 148 cm
Ernesto Neto, navegante tecelão cheguei do mar- NT1, 2021, 50 x 30 cm.
Marina Abramovic (1946), uses her extreme sensitivity to create relationships between her work and the audience, always proposing to relate the boundaries of body and mind; Hariel Revignet (1995), moves between memories, as a way to demarcate original territories in the collective unconscious, break boundaries and heal colonial wounds. Finally, Shai Andrade (1992) uses photography, collages, videos and performances as memory activators, to document and create from Afro Diasporic affective narratives.
Marina Abramovic, Places of Power, The Garden of Maitreya, 2013, 160 x 212,5 cm.
Hariel Revignet, Omawebèna e Aye, 2021, 60 × 60 cm (each). Photo: Bruno Leão.
Shai Andrade, 'Retrato de família', from the series 'Retrato de família', 2019, 15x21cm.
Image credits: Courtesy of the galleries Nara Roesler, Vermelho, Jaqueline Martins, Luisa Strina, Simões de Assis, Sé, Fortes D’Aloia e Gabriel, Luciana Brito, Mendes Wood DM and Verve Galeria.
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