To love humanity is an essential condition for artistic practice. The pictoric production of Márcia Pinho presents a poetry marked by sensitivity in the treatment of the human figure and the city, themes that seem very close to her. The first one motivates a reflection about the nature of beauty while the second considers the most diverse environments as places of the expression of existential life.
Born in São Paulo, Brazil on March 14, 1976, Márcia burst into the world of art when she moved to the city of São Bernardo. Encouraged by her brother who gave her a small screen and acrylic inks, she started to create, painting at least three or four pictures per day. The next step was to visit museums, for close observation of the great masters, and navigate the internet, searching for several kinds of information.
Her constant research led to painting courses with the artist Eliana Ducatti and at Escola de Arte de São Paulo, where she found professor Eden Della Bella Jr. Thus, by her search for the aesthetic solutions which illustrate the relationship of the artist with the world, the painting of Márcia Pinho gained a unique style.
The plastic results have strong expressionist characteristics, for both the use of color and form. Freedom of the trace at the body in motion indicates a permanent search for aesthetic means to accent freedom and a conscious effort to break rules.
A figurative trend, present in most of her works, discloses the body as an instrument for the practice of pictorial undertakings. Boldness in color and form reveals a desire to surpass established frontiers in search of challenging personal paradigms.
Dark tonalities and pure colors directly out of the ink pipe dominate. The use of the spatula becomes an element differentiator, offering possibilities to work the pigment with a very special relief, favoring the use of varieties of forms.
Besides working with ink oil, Márcia Pinho experiments with the use of rags, embroidering the screen in an experimental path which confirms the uneasiness observed in the greater part of her work. Perhaps this feeling of nonconformity can become more evident in the sets of houses that allow a larger experimentation of forms and colors.
In her universe of people and images, Márcia Pinho constructs an inventive world marked by her search for the relationship between human beings and their
surroundings. She doesn’t accept simple responses from the materials with which she works and her technique leans toward a poetical certainty: that the human being, despite its numerous imperfections, is still the beginning, the middle and the end of all artistic activity, either for technical, visual or existential questions. In
view of this, the paintings of the artist appear to promise to inquire, each time with greater energy, into the situation of the contemporaneous man before the world and itself.
Oscar D’Ambrosio, journalist, integrates the International Association of Critics of Art (AICA-Seção Brazil) and is the author of Counting to the art of Ranchinho(Noovha America) and The Brushes of God: life and work of the painter naïf Waldomiro de Deus (Editora Unesp e Imprensa Oficial do Estado de São Paulo).
