Extract from Richard Walker’s critique, published in “Arts Review”, London, October 25, 1969
Exhibition at Alwin Gallery - London, November 1969


In these landscapes and seascapes of her Brazilian birthplace, Noêmia Guerra has expressed, since her exhibition at the Alwin Gallery last year, broader aspects of her creative skills. Her current work comprises a rhythm, a strength and a confidence that go beyond the earlier, instantaneous, impressionist interpretations of the theme in question, to penetrate the immutable subliminal reality. This, the result of the artist’s continuous journey in her own psyche, gives her work a new penetration.


Extract from Richard Walker’s critique, published in “Arts Review”, London, February 10, 1973
Exhibition at Alwin Gallery, London, February 1973.


Igneous, red and golden rocks, as if molten ore had appeared sparkling on the surface, cup-shaped dunes green as grass, curving down onto the purple whirlpool of the water close to the coast. Just like that idealized amalgamated ore, the paintings are not about what is in fact, but rather about what is experienced. In a complete and evident manner, these coasts surrounded by rocks are images made after a long, intense Summer in Algarve, attributed to its basic forms, and also founded on an economy that is not at first apparent. 

Noêmia Guerra – Maltz Gallery
Richard Walker - Arts Review 29 April 1977

Noêmia Guerra is a Brazilian artist, and her present exhibition is a flamboyant and “straccato” exercise with dancing bodies lit by a diffuse orange-red light that penetrates and shines through them, so that, more than just individual and isolated figures, they represent ideas of frenetic vitality, which are inevitably – and perhaps erroneously – associated with the famous Rio de Janeiro Carnival. However, they keep any specific reference at a distance, which maybe is the vulnerable point regarding content, though simply as visual experiences the pictures are alive and vigorous. They do not show any of the melancholy that is generally associated with the Portuguese-Brazilian culture.  

Noêmia Guerra’s palette is more restricted than before, when one of the most distinguishing qualities of her semi-abstract landscapes was the dramatic and poetic orchestration of a broad range of colors.  The present exhibition is at the same time a more explicit and less specific affirmation than her previous work.   


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