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Abyss of time and space that separates him from these people, that leaves him from those who were the first inhabitants of the Brazilian coasts and of this vast American continent. His initial language is two-dimensional painting, acrylic on canvas, observing the forests that survive in the city. Licuris trunks, follaje, bamboo forests. Organicity and geometry in one vivid palette that longs to break barriers and move through spheres of other rhythms, to live other years. Vegetation is the theme constant for the artist and appears here as an element of reframing. Now introducing the human figure with calls protagonism, his paintings announce an anthropophagic act in which Finally, the meat returns to the forest and the forest returns to the flesh. Man and kill and El asesino and el hombre become part of the same body. If his relationship with history and memory is rigorous, José Ignacio seeks a dialogue that is sufficiently open to honor an existence and at the same time rematerialize other corsés. A Tupinambá leader, a Goitacá warrior, a Maya chac-mool. Any distance between them will no longer make sense.
Everyone inhabits José Ignacio's dream universe. That's how it is committed to the quest to establish a path that is capable of promoting, in painting, wood, stone and iron, the creation of a pantheon of men, women and deities that exist in these forests I belong, I belong and I belong.
Understandings of Awo Falokun Fatunmbi, in Ori: The Ifa Concept of the evolution of the land. by Ticiana Lamego

Matas Series

Figures Series

Sculptures Series

Wood, stone, iron. The raw material and the material of a sculptor.
ancestor of any architectural practice. But the architect, the sculptor and the artist do not remain alone in their element, they do not impose themselves on him, on the contrary: they enter into symbiosis with the material and they all transform into a single being, a single head, a single orí. Orí is a Yorùbá word. In the most literal sense it means calavera, but it also refers to a state of consciousness, a spirit that contains wisdom, knowledge, thoughts and emotions, a spirit that contains our destiny and our connection with the universe of all things*. El Orí Tupinambá is a unique being, the original stone head.
Stone found (and longed to be found) at the bottom of the sea. Newly immersed in this impossible dimension of an ancestral territory of a population across the entire continent. José Ignacio begins this artistic project based on reports from travelers from the 16th century, many of them who passed through these lands and who had close contact with these people. The artist drinks from this source with the pretext of establishing some new intimacy and confronting it as.
by Ticiana Lamego.



Jose Ignacio Suarez Solis artist



Son of Cuban parents, José Ignacio Suarez Solis arrived in Rio de Janeiro during his childhood, settling in Bahia in 1974. Between 1987 and 1993 he studied in the United States, initially in New York and then on the West Coast, where he graduated with a B.A. Architecture from the University of Oregon. In Copenhagen (1990) he had contact with drawing and watercolor, starting to produce journals of sketches. He participated in his first exhibition in Oregon, in 1992. His first architectural project (1991) was the residence of the country, on the escarpment of Baía de Todos os Santos. In 1994, the artist settled on a coffee farm in Chapada Diamantina where he developed the practice of drawing and painting with greater regularity. A regular at Carybé's studio, he was influenced by sculptural practice involving the use of beaten iron. As an architect, José Ignacio was a project manager in the hotel sector, carrying out several transits throughout Latin America - which allowed him to improvement of his research and greater circulation of his work, integrating private collections spread across the places where he dwelt. In 2004 he did an artistic residency in Helsinki, Finland, redefining the use of your palette. Reinstalled in Salvador in 2018, the artist carries intellectual concerns that lead him between the affection for continental geography and the nostalgia for a destination. His investigations into the mythological imagery of indigenous matrices poetically translate into deities painted on canvas or sculpted in wood, stone and iron.

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