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river with images that his work, has sociological, anthropological and political implications, in the same way
they speak about our imaginary and the Brazilian unconscious. What more could an artist ask?
But return to that sentence of Guimarães Rosa, I can read it like this: when the heart is open towards life, time
does not count, all the time is free. And existing this time, there is an affective availability – that there is no
creation without affection, statement who also applies to the criticism because every approach to the work of
art impart by a loving way. It is an act of surrender. The critic cannot be, for himself and others, a lion-farm of
work of art. When we dive in art, we enter into time’s heart – pure vibration.
Color – action in time. I see a cor/rel/ação [sin] cor/rel/ation (color-relation-action) between time and color in
the Gerchman work. Will need, one day, to categorize or put in dictionary his imagistic universe. Bring closer
his pictures by subjects, ages, types of applied support, formal treatment, the changes or metamorphoses ‘of
each image throughout his collection, mergers etc. Work for some critic with scholastic education. Or for any
anthropologist concerned to lift the Brazilian daily in the past two decades.
Let’s say to simplicity that, in the beginning, his gaze was directed towards to what was happening outside,
in the
urbanizations
, in the mass media. 60’s, dark phase, strong images, socially marked. In the 70s, more
reflective, Gerchman internalized these images, or rather, bought them on his nearest and intimate circuit
as if he changed from the newspaper to the family album. In the first block, there was a hint of anger, a more
critical posture, the images almost being cut in wood; as if he wanted to burden them, like the workman
carries his lunch box. Aggressive cut in Brazilian social stratum. In the second block emerges his own history
as an artist, his biography, a red Mercury, the son, Mira, the father, images loaded of lyricism and poetry.
Today, all these images, so ours already, are confused or diluted in its own pictorial material. The great love of
Gerchman, is, always was the painting, as the air he breathes that keeps him alive, which he makes to confuse
fully with his life. As if live, to him would be to produce images, that is, paintings. Because, today, freer, all in
him overturn painting, of a little boy sitting on top of the stone as a little monk contemplating the graphic
iris all colors in the canvas lake, or a
Petit Tarzan
crawling in the big city jungle, the boy in his mother’s lap,
between the legs of his father, playing plains football in any suburb of Rio, boy that vanishes to reappear later,
already man, in the back seat, making love with one that has been Miss.
Mature, Gerchman’s painting explodes generous, abundant, even overwhelming, without any compromise
of style, sometimes growing as vegetation of arabesques, of graffiti, quasi-letters, sometimes creating
compacted areas, of deaf or vibrant colors. The heart vibrates, it is time to paint. Gerchman is happy, that is
what his current paint tells.
Frederico Morais
(Belo Horizonte, 1936) is a journalist, teacher, curator and art critic. He organized several exhibitions
and events, including Do Corpo à Terra – Belo Horizonte, 1970), Domingos da Criação – Rio de Janeiro, 1971 and
the Ciclo de Exposições sobre Arte no Rio de Janeiro – Galeria Banerj, 1984-1986. Like Rubens, Gerchman made
part of the jury of the IV Salão Global and was adjudicated in the case of the artist Lincoln Volpini, convicted by
the military dictatorship by the work
Penhor e Igualdade
. He is the author of
Artes Plásticas: a Hora Atual
– Rio
de Janeiro: Civilização Brasileira, 1979) and
Cronologia das Artes Plásticas no Rio de Janeiro: 1816-1994
(Rio de
Janeiro: Topbooks, 1995), among other publications. Among the re-editions of his writings, please see the books
Frederico Morais, organized by Silvana Seffrin (Rio de Janeiro: Funarte, 2004) and
Crítica de Arte no Brasil: Temáticas
Contemporâneas
, organized by Glória Ferreira (Rio de Janeiro: Funarte, 2006).