2 Jun - 3 Jul
Much like most of the art produced in Brazil in the past 50 years, Gais’ work is deeply rooted in the modernist tradition that came from the abstract art of the post-war period. This tradition was later influenced by the vibrant culture of music, dance, and urban art that is so unique and characteristically Brazilian.
This transformation took place between 1950 and 1960, through the imagination and vision, first from the “Grupo Frente” and subsequently from neoconcrete artists such as Ivan Serpa, Lygia Clark, and the unparalleled Hélio Oiticica. These artists, along with architect Oscar Niemeyer, created the artistic and social legacy that formed the base from where Gais came to burst in the Brazilian art scene.
The shapes and planes of lines and colors that were first seen on the city walls and viaducts of the urban metropolis of Rio de Janeiro come from Gais’ deep knowledge of Brazilian art history. The hours spent in Rio’s bookshops were translated through a spray can to create his vision of the city’s settings. These fantastic urban landscapes pulsate with the energy and the rhythm of a samba group on a Saturday night in one of the nightspots of Rio.
The color fields in the work of Gais are created through the monochromatic surfaces and divided planes commonly used in concrete painting. These characteristics refer to the history of modernism and play with the time and space to which its art belongs.
Sem título, 2011, 100 x 140 cm
Bric, 2011, 90 x 140 cm
Espaço aberto, 2011, 90 x 140 cm
Quando o tudo não importa,
o nada se transforma, 2011, 140 x 100 cm
Nada será como antes, 2011, 90 x 140 cm
Trouble machine, 2011, 70 x 110 cm
Orquestra espacial de músicas neoconcretas, 2011, 70 x 110 cm
Como você pode deixar de amar esse eu,
que o amor o torna perfeito. auto retrato, 2011, 100 x 140 cm
AMA, 2011, 110 x 210 cm
Satélites, 2011, 100 x 80 cm