Working on a painting of Caraça landscape, Summer 2008
Along the last few years, Marina Nazareth has been involved in creation experiments on a continuous basis. Following her track means unveiling a particular world and the results of long years of exercise in expressive art.
Having started her activities in her early teens, from 1962 to 1965, Marina Nazareth studies drawing with Maria Helena Andrés, attends the UFMG’s Fine Arts course where she meets teachers and students that have great influence in her artistic path. Among her teachers are Álvaro Apocalypse, Haroldo Mattos and YaraTupynambá, and, among her classmates, Márcio Sampaio. An apprentice to Fayga Ostrower, she learns expressive arts’ concepts and techniques from her great master.
Within that time span, she produces drawings and dip-pen works.
In 1969, within a modernist concept, in her quest for new ways of expressing her art, Marina Nazareth creates “Concreto Cor”. The artist colours a material used in contemporary constructions – reinforced concrete – and adds iron, cork and cement to it. She takes possession of it as she lends her sensitiveness to the shapes she produces, enriching them with relief, colour, rhythm and balance, creating objects of contemplation.
In 1970, she starts “Fragmentos do Real” and works on urban landscape through the filter of memory.
“Árvores”, the expression of life and promises of spin-offs, is launched in 1976.
In 1978, Marina Nazareth starts a series of lithographic drawings and in collaboration with other artists – Lótus Lobo, Carlos Wolney, Tais Helt and George Helt – she creates Casa Litográfica and Ateliê Santo Antônio do Monte.
In 1980, she embarks on a new series of paintings called “Frutos da Terra”, inspired by trees and other plants, like in nature.
In “Poética da Cor”, started in 1982, Marina Nazareth plays with expression. On the canvas, the colours coexist, suggest, evoke but do not convey a clear-cut reality.
In 1988, Marina resumes her lithographic work and opens, with Thaís Helt and Thais Guimarães, Oficina Cinco, specialized in lithographic printing.
In 1990, Marina Nazareth makes a new reading of “A construção da alegria” by Hélio Peregrino. Joyfulness is the result of a non-stop struggle involved in her production process. More than the final result, joyfulness is born from her efforts and quest. Pellegrino draws a parallel between the construction of joyfulness and the construction of a boat. While the author plays with the verbal language and emerges with the content by means of figures of language, Marina makes use of visual elements to put together informal configurations. She expresses in drawing her very process of creation of joyfulness.
Between 1993/95, “As Sombras e suas Flores” proposes the inversion of causal order. Marina Nazareth’s canvasses depict magnificently colourful flowers reflecting shadows that do not replicate their shape. Art and imagination conjure up a new reality.
Marina Nazareth defines the reflection as “the shade of light”. The Artist moves from the shades to the study of the reflection. The flowers are now framed by the reflection in its splendor on the canvas.
In 2000, Marina Nazareth turns her attention to “Gerânios”: the bright colour addresses the delicate attire of these flowers; the instant perception, a feeling of freshness, the sensory apprehension that precedes rational organization.
The geraniums are also present in the 2002 Calendar, in which the Artist associates the images of geraniums to the twelve months of the year and to twelve literary quotations. This calendar brings together three types of register: the flowers in the painting, time measures in days, month, weeks and the quotations extracted from her reading of different authors. The canvas eternalizes the fugacious charm of the flowers, the calendar tries to curb the fleetingness of time, and memory feeds them on the taste of poetry.
In 2003, the Artist paints “Memória do Mar”. Sea means movement, coming and going, destruction and construction. It is the very expression of life and feelings whose continuous movement condemns us to forget our limitations .There’s nothing more real, nothing more imperceptible. What comes and becomes either is nothing or is incessant transformation.
“Retratos do Afeto”, in 2004, witnesses Marina Nazareth standing before herself. Window and mirror: the painter paints characters and their pictures in turn depict the very Artist. These are “pictures of affection”; the conducting wire of caress, friendship, sharing, togetherness, presence/absence, deprivation, nostalgia, similarities/differences weaving the tissue of the Artist’s sensitivity. On the canvas she inscribes her sentimental biography.
As of 2007, we have Marina Nazareth in her present stage, “Paisagem”. Sinuous mountains challenge us to infinity; they might have been a sea before emerging from it. The space suggests the perception of infinity. There is no canvas large enough to hold all landscapes, this is why other canvasses must be added as far as the eye can see. Infinity is beyond space, after that there is no more any space or time left. Because of this, each picture is an extension of the other until all space possible is taken up.
In her work as a whole, each stage contains rudiments of her previous phases. Matter, shape, nature, culture, individual experience and perception of the other phases are translated into forms that coexist as other apparently diverse forms.
Reflecting on the nature of art, in a passage written in 1969, Marina Nazareth declared that “only in retrospect can the path of an artist be seen. This path is trodden step by step and discovery leads to discovery: it is born from the work itself”. Today, over forty years later, her work expresses the truth of that statement.
Text by Maria Eugênia Dias de Oliveira
Abridged curriculum – Marina Nazareth
Working since 1965, the artist’s production bears marked traces of her theoretical and practical studies with Fayga Ostrower between 1966 and 1970. Her work has been displayed in more than 30 individual exhibitions both in Brazil and abroad, the most important being:
1969 – Reitoria da UFMG – Belo Horizonte 1974 – Museu de Arte Moderna do Paraná – Curitiba 1979 – Abreu Gallery – New York 1987 – Paço Imperial – Rio de Janeiro , MASP – São Paulo and Palácio das Artes – Belo Horizonte (travelling show ) 1995 – Espaço Cultural dos Correios – Rio de Janeiro 2000 – BDMG Cultural with the launching of the book “Marina Nazareth” by José de Anchieta Corrêa – Belo Horizonte 2001 – Museu Nacional de Belas Artes – Rio de Janeiro 2007 – Galeria Genesco Murta – Palácio das Artes – Belo Horizonte 2011 – Galeria Mari´Stella Tristão – with the launching of the book “Marina Nazareth- Fortuna Crítica” by Maria Eugênia Dias de Oliveira – Palácio das Artes – Belo Horizonte 2012 –Launching of books by the artist: “Instruções para voar” I,II,III,IV and V, with the projection of images– Sala Juvenal Dias- Palácio das Artes – “Sempre um Papo” 2013 – Sala Mário Silésio – Fundação de Educação Artística, an event presenting the musical readings of the drawings “Partituras” – Belo Horizonte 2015 - Launching of the DVD "The Breath of the Wind" - Cine Humberto Mauro, Palácio das Artes; Sala Mário Silésio, Fundação de Educação Artística; Escola Guignard - UEMG - Belo Horizonte; 2016 - "Languages in Dialogues" visual art, music, poetry - Museu Mineiro, Belo Horizonte. The artist took part in various national art shows and collective exhibitions: especially the historical studies by Marcio Sampaio about the Landscape of Minas Gerais, Drawing of Minas Gerais and Brazilian Lithography.Works in public collections:
Museu Mineiro - BH Museu de Arte de São Paulo – MASP Museu de Arte Contemporânea do Paraná Museu de Arte Contemporânea de Brasília Centro Cultural dos Correios – Rio de Janeiro Museu de Arte da Pampulha- B.H. Fundação Clóvis Salgado – B. H. Reitoria da U.F.M.G., B.H.Bibliography:
Marina Nazareth – José de Anchieta Corrêa – Editora C/Arte, 1999 Belo Horizonte Ateliê de Ofícios vol. 2 – Sylvio Coutinho e Moacyr Laterza , 2004 Belo Horizonte Marina Nazareth / Fortuna Crítica – Maria Eugênia Dias de Oliveira, 2011 – Autêntica Editora, Belo Horizonte Texts published in catalogues, magazines, and newspapers as of 1965 from different authors, among whom, Amilcar de Castro, Ângelo Oswaldo de Araújo Santos, Bartolomeu Campos de Queirós, Celma Alvim, Fábio Magalhães, Leonel Kaz, Márcio Sampaio, Miguel Gontijo, Moacyr Laterza, Roberto Pontual, Rubem Braga, Silviano Santiago, Walmir Ayala.Cultural action:
In 1976, in the newly opened Coordenadoria de Cultura do Estado de Minas Gerais, a cultural Project started with the promotion of events such as the Salão do Carnaval – (Palácio das Artes, 1980); with curatorships such as “Criação Erudita – Intervenções na trama urbana” in the XII Salão Nacional de Arte (Museu da Pampulha) In 1981 she coordinates the fine arts sector of UFMG’s XXIV Festival de Inverno, in the locality of Diamantina, Minas Gerais. She works on the changes in the administrative structure of the Superintendence of Museums, having been the first director of Museu Mineiro. In 1996 she coordinates the research project and exhibition “Segredo de Estado”, held at the Galerias do Palácio das Artes, Museu Mineiro and Biblioteca Estadual. Between 1998 and 2000, she becomes the head of the Fine Arts Sector of Palácio das Artes. At the moment, she is working on the implantation of and Experimentation and Research Centre for Escola Guignard – UEMG.