Cottie Burland in Arts Review, London , May 29, 1965


NoÍmia Guerra most varied use of colours goes with the most active  movement and she has the ability to suggest movement from the canvas towards  the spectator. Some of her works remind one, of mountain and forest, perhaps of her native  Brazil,which have not been rendered tame by her residence in Paris, where all the works exhibited have been painted.

 

NoÍmia Guerra
Cottie Burland - The Arts Review Ė May 4, 1977
 

The rhythm and color, warmth and emotion of Brazilian folklore mix together with bouquets of flowers and flowering trees of the European Spring. They join in a united expression of the artistís personality, because she needs to make personal statements about life. The quality of the dance in the figurative scenes is marked with vigor. The figures take part in a ball, in which many movements are instantaneously agreed and the instant is the moment when the beholder contemplates the scene and understands its meaning. This is not a literary form of art. It is not necessary to stop and meditate, because its impact goes deeper than mere reflection. It is painting that comes from the heart. If the heart sings in warm colors, so much the better for the beholder and so much the happier is the artist.  

The presentation at the Stephen Maltz Gallery is excellent; the paintings are well spaced out and one is free to appreciate each one. The overall effect is that of being free to be happy. Perhaps some dances are inspired by severe themes, but the dancers act as if they were the theme itself. Life, love and hope are the key.

The success of the exhibition seems to be assured.    

 

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