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Extract from Richard Walker’s
critique, published in “Arts Review”, London, October 25,
1969
Exhibition at Alwin Gallery - London, November 1969 |
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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. |
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Extract from Richard Walker’s
critique, published in “Arts Review”, London, February 10,
1973
Exhibition at Alwin Gallery, London, February 1973. |
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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.
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Noêmia Guerra – Maltz Gallery
Richard Walker -
Arts Review 29 April 1977 |
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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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