For Jose Ignacio Suarez an abyss of time and space distances 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. Lycuris trunks, foliage, bamboo forests. Organicity and geometry in a living palette that longs to break barriers and travel through spheres of other rhythms, to live other years. Vegetation is a constant theme for the artist and appears here as an element of reframing. Introducing now the human figure with so-called protagonism, his paintings announce an anthropophagic act in which finally, the flesh returns to the forest and the forest returns to the flesh. Man and Death and The Murderer and the Man become part of the same body. If his relationship with history and memory is rigorous, José Ignacio seeks a dialogue open enough to honor an existence and, at the same time, rematerialize other corsets. A Tupinambá leader, a Goitacá warrior, a Mayan chac-mool. Any distance between them will cease to 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.
An arresting abstract painting showcased at The Art Design Project. Located in Miami, our contemporary art gallery is celebrated for promoting the innovative works of both established and emerging artists.
