Rodolpho Parigi

Rodolpho Parigi’s works stem strongly form a new generation of Brazilian artists who have sprung at the turn of this Millenium. Such manifestation replicates, in its own style, the touch we have already witnessed throughout the history of art, i.e., that of making use of architectural spaces by going beyond the borderlines of the canvas. Parigi’s painting is home to other contemporary traces as they carry features of an organic inspiration, one that is not curbed by geometric rigor. If the wall is flat limited by right angle, Parigi will undo the order while making the most of it. There is a flair of shapes, and colors at times which uniquely blends humor and organity, psychodelic traces, and formal accuracy.

The artist’s background gathers an array of references which include urban grafitte, Bosch’s works, the teaching of perspective, and Adriana Varejao’s visceral universe. By stressing Parigi’s flair of shapes and colors, we must point out that flair is also disciplined, as if attempting to keep chaos under control. It is clear that such formal rigor is achieved through manual effort alone. The artist does not utilize projections or any other resources to create his works, i.e., deliberately make use of any acquired techniques, be these larger or smaller in scale. This is clearly a lonesome battle between the artist and the means at hand (wall, canvas, paper). In this battle, music, which sets off the rhythm of the strokes of the artist, and dance, passions that join the artist on stage, when the artist sees himself before a physical battle with great dimensions to be filled, thus producing a portrait of a musical represented on the canvas, where in sound and movement express come to life to the delight in content of all eyes.