Francisco Valença Vaz

Francisco Valença Vaz (born 1996 in Recife, Brazil) instrumentalizes the means of painting to work toward the medium's downfall. He doesn't organise colours, planes, and lines on canvas – he works in space, with projection, shadow, and light. These spatial images are then translated into small sculptures made of shaped Plexiglas. In his most recent works he uses malleable items found in all bathrooms around the world: towels and shower curtains. These basic universal materials are printed with his graphic compositions. The resulting panels change their appearance depending on how they are hung, folded, or draped. He also used coloured soap base to cast small objects that are ultimately graphic rather than three-dimensional in nature. And he had amorphous shapes laser cut out of see-through Plexiglas, which remind the viewer of clouds, waves, or small ships. Their timid appearance is manifested in a clear material, the outlines of which are obscured by fractured light and shadows. 
Francisco Valença Vaz lives and works in Vienna. 

 

Works

goldene Äpfel auf silbernen Schalen
so vergeht der Ruhm der Welt
Erstmal sacken lassen
Absent-mindedness
Wolkenkratzer
Cabrio

The fame of the world (Der Ruhm der Welt) passes right on the body of the glorious artist. He seeks the consolation that the capitalistically reified and now also warring world denies him in the things of art. It is said of things of art that they are at odds with the world, that they are resistant. A colored scarf is now wrapped around the artist's tired body as an art object that promises consolation. But his promise is disappointed: he just hangs heavily on the tired body, tiring him out instead of giving him strength and comfort. Its synthetic material, synthetic pattern assert dynamism and intensify the cold. Alienated paid labor exhausts the body; the artistic work appears with a promise, then becomes similar to piad labor and only exhausts the body more. The thing that promises consolation finally appears on the wall as a drawing or artistic signature, as a merely aesthetic residue, freed of body, work and exhaustion. The flickering lines that now surround it make the thing of dead work appear alive. As a play of light, they finally ennoble the thing of dead work as a sanctuary, as an autonomous work of art. The fame of the world (Der Ruhm der Welt) passes right on the body of the glorious artist. He seeks the consolation that the capitalistically reified and now also warring world denies him in the things of art. It is said of things of art that they are at odds with the world, that they are resistant. A colored scarf is now wrapped around the artist's tired body as an art object that promises consolation. But his promise is disappointed: he just hangs heavily on the tired body, tiring him out instead of giving him strength and comfort. Its synthetic material, synthetic pattern assert dynamism and intensify the cold. Alienated paid labor exhausts the body; the artistic work appears with a promise, then becomes similar to piad labor and only exhausts the body more. The thing that promises consolation finally appears on the wall as a drawing or artistic signature, as a merely aesthetic residue, freed of body, work and exhaustion. The flickering lines that now surround it make the thing of dead work appear alive. As a play of light, they finally ennoble the thing of dead work as a sanctuary, as an autonomous work of art. 

skyscraper