Solo show of Jaildo Marinho

The Wagner Gallery presents the work of Jaildo Marinho, Brazilian artist. Painter and sculptor, Jaildo Marinho offers a selection of fifteen emblematic works of his approach.

Ehibition from  June 15 th to  July 29th 2023.

Note: other works by the artist are exhibited at the Maison Louis Carré in Bazoches-sur-Guyonne until September 3 (by reservation), as well as at the Villa Datris Foundation in Isle-sur-la -Sorgue until November 1st.

Viewing room

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Jaildo Marinho has paid several tributes to the community of geometric artists in his work. To the right of the image, a recent work dedicated to Auguste Herbin reaffirms the aesthetic affinities he feels for other artists and the inspiration behind his work. This reference to the – relative – past coexists perfectly with his sculptures in marble, an age-old material that he subtly evokes and paints to highlight these metaphysical intervals. Far from leaving Jaildo Marinho with a void, Herbin’s imprint inhabits the space worked by the artist, who continues to weave the thread of the lineage in which he fits.

Azul, 2015-2021
Acrylique sur bois et PVC
160 x 107 x 10 cm
Pièce unique

Hommage Auguste Herbin, 2023
Acrylique sur bois et PVC
150 x 150 x 8 cm
Pièce unique

Bleu ligne, 2021
Marbre de carrare et acrylique
120 x 40 x 40 cm
Pièce unique

Soleil , 2017
Marbre blanc de carrare, plexiglas et acrylique
19 x 34 x 4 cm
Pièce unique

In the foreground, a needle crosses Jaildo Marinho’s “Trame diagonale”. A symbolically important object for the artist, the needle is one of the greatest inventions of the Upper Palaeolithic, and its shape has remained unchanged for tens of thousands of years. Here, it represents the starting point for the weft of this marble ‘fabric’, while maintaining the sculpture’s balance. Inserted into the rocky canvas in this way, the needle both fills and carries the void. In fact, the eye of the needle, in addition to being a space carved out of the object, is already an area predestined to receive a thread. Through this interplay of intricacies, Jaildo Marinho invites us to continue our meditation on the void – about which the Chinese wise man Lao-tzu already said that nothing is more powerful or creative. Finally, from one corner of the frame to the other, a diagonal colours the absence of tangible matter, offering us a glimpse of the invisible.
In the background, a resonance is felt. A three-dimensional wall piece made of wood and stretched white and orange nylon threads disrupts our perception of space. The use of oblique yellow lines creates a set of singular rectangles that make our gaze waver. Between the foreground and the ‘background’ of the work, another yellow band, invisible from the front, frames the space through which a few threads pass. Like the diagonal weave, light inhabits the void, and Jaildo Marinho encourages us to rethink its functions as host and propagator.

Trame diagonale, 2021
Marbre blanc de carrare et acrylique
60 x 104 x 102 cm
Pièce unique

Lignes obliques n°468 Volume flash jaune jaune, 2013
Acrylique sur bois, nylon et PVC 200 x 124x 11 cm
Pièce unique

 Matheus 24 , 2019
Acrylique sur bois, nylon et PVC
102 x 102 x 10 cm
Pièce unique

Cible, 2018
Acrylique sur bois et nylon
76 x 76 x 10 cm
Pièce unique

In Jaildo Marinho’s mural works, the segments created by the stretched threads symbolically join two colours and link two planes that were a priori separate. The lines drawn through the space not only cast shadows, but also encourage us to change our perspective. The curiosity of the eye is aroused, and the eye is called upon to discover what was previously hidden behind the foreground. Other colours are revealed.
In the centre, “Soleil” (Sun) gives a straightforward name to the star that has fascinated mankind for thousands of years. Framed in white marble, yellow Plexiglas beams are arranged at an angle. But when the orientation of these rays is reversed in the middle of the room, we are left to wonder about the direction of the light. Depending on the yellow colour painted inside the marble in which they are held, the Plexiglas rods move from back to front and then from front to back – once again blurring perception – creating a specific space at its centre. Like the distended bars of a gilded prison, this piece evokes a skylight through which the viewer’s gaze becomes even more emancipated.