Véus do Tempo
Môa, the painting between the man and the artist
         Moacir “Môa” Moreira exercises the art of painting in its most traditional definition: his work is carried out from the ordering of colored flecks that create spaces, figures, rhythm, and volumes of successive deposits of material on the plane. Exercise of the essential, it is hand-painting of gestures and of sentiment expressed on the support—painting as a reflection of the passions, physical mediator of pure subjectivity. On the other hand, it is painting that turns over your deepest insides and brings to the light one's own anatomy – reflecting and cerebral painting that joins parts rationally and consolidates successive agreements with the elements of which it is made. It is painting of solid romantic motivation that, at last, arrives at concreteness by the cross-section of modern contestation.
         Emblematic figures of his work, birds have been the reason for Môa's painting for twenty-five years. Clear marks that impregnate with beauty the cruel passage of time, these birds gathered in a flock are grains of sand in an hourglass, hands on a clock marking the seconds and the centuries, making of the stroke of a paintbrush a metaphoric testimony of the real, of time passed and time lived, of the concrete facts and of the subjective facts. Thus, all of the pictorial structures in the works of art conceived by Môa in the last years have their base in constructive procedures, repeating and superimposing silhouettes until this accumulation of images becomes a frenetic traffic of volumes, by insinuation of openings and by suggestion of speed. Set on different supports, however, these structures acquire distinct potentials of significance and, more importantly than this, insinuate three very particular processes of poetical creation.
         When painted on a canvas, for example, the flights of birds take on a vivid concrete nature, reaffirming the basic elements of painting, being subjected to the limiting plane of the portrait and enhance, in the spectator, the sense of fondness to color, to movement, and to the materiality of the artistic work. Already painted on the veils, these same structures rehearse an emancipation of the concrete body, announcing metaphysical flights and taking advantage of the delicateness of the translucid support, virtually dispensing the mediation of the sign when they begin to speak to the imagination. Pulsating on the emulsified paper and over the successive applications of veils on the other hand, Môa's flocks of birds fulfill a regime of transition and latency. At this point, painting and re-painting become instruments of uncovered potential and the time of the execution of the work-of-art is transformed into a path of revelations that presents visual metaphors for the transposition and making direct reference to the process action of the creator.
         I speak of a process of the creator when, in fact, I should refer to the peculiar conditions of this creator: all of his painting is a result of a non-premeditated condescension, from a silent agreement between the artist and the work-of-art—agreement that allows both the artist to subvert and redimension esthetic objective as well as allows the work-of-art to be concluded when, at the end of a long work relation with the painter, toasts his demands with an image of unexpected beauty. It is exactly this open and impassioned state on Môa's part with his work that elevates his painting to the condition of true art. When he takes on the exercise not only as a symbolic activity, but mainly as a material and concrete activity, Môa affirms simultaneously form and content, means and message, intention and result. When becoming a painter, painting, Môa is opened to the history of art and to the history of subjectivity, presenting a work-of-art that brings to the discussion table on the one side Signac, Seurat and Mondrian, and on the other side Warhol, Rauschenberg, Donaldson and Tanto-Festa; on the one hand desire, passion, nostalgia, and man's innocence and on the other discipline, the safety of the gesture, the critical look, and the disquiet attitude of the artist.
Gleber Pieniz
Journalist, finishing a Master's in Visual Arts
June 2003
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