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Estudei muito para não ser um cara sério

Zurique
01 Jul – 27 Jul 2019

Estudei muito para não ser um cara sério
Daniel Lannes

Estudei muito para não ser um cara sério
Works

Galeria Kogan Amaro Zurique
Löwenbräukunst, Limmatstrasse 270
8005 Zürich, Switzerland
info@galeriakoganamaro.com

As if the canvas were a stage, Daniel Lannes (Niterói, RJ, 1981) uses theatrical strokes to shape his characters in the mundane situations of life. Without monotony, it throws light on questions that cannot (and should not) be answered immediately: he combines the crude sensuality of the human body with the power relations and the Brazilian swing (Malemolência). He also creates discomfort when working on behavioral cliches, especially from the often-grotesque male universe.

The newest artist represented by the Kogan Amaro Gallery has two decades of career and seeks inspiration from photographs published in traditional magazines, newspapers, art history books and social networks; all that he needs is to fall in love with an image, which he then uses almost as an obsession, part of what he will portray. That is why not only one, but two or more portraits are part of his canvases. Like a jigsaw puzzle, he subverts the figures in a kind of collage, in which he overlaps narratives, visual chronicles of everyday life, frames, which purposely resemble unfinished paintings.

With a bachelor’s degree in communication and a master in Visual Languages, Lannes began with abstraction and went on to figuration, with a traditional way of painting. It is a clear course, through which he organized misshapen strokes and layers of paint by overlapping them. The Rio de Janeiro native artist has long been attracted to figurative painting: since his visits to museums as a teenager, he liked to be observed by the figures of those traditional paintings – an ancient technique, already found in the art of ancient Egypt, of portraying the eyes of the figures in such a manner that, when the viewer changes position, there is a sense that they are being followed by those eyes in every corner of the exhibition room. The way that the eyes fixate on our gaze can cause some discomfort. Which is the same as Lannes’ work: disturbing in exploring the human condition in a cynical, provocative and unanswered manner. All you need to do is look.

Works

Daniel Lannes
View all
Estudei muito para não ser um cara sério
Works

Galeria Kogan Amaro Zurique
Löwenbräukunst, Limmatstrasse 270
8005 Zürich, Switzerland
info@galeriakoganamaro.com

As if the canvas were a stage, Daniel Lannes (Niterói, RJ, 1981) uses theatrical strokes to shape his characters in the mundane situations of life. Without monotony, it throws light on questions that cannot (and should not) be answered immediately: he combines the crude sensuality of the human body with the power relations and the Brazilian swing (Malemolência). He also creates discomfort when working on behavioral cliches, especially from the often-grotesque male universe.

The newest artist represented by the Kogan Amaro Gallery has two decades of career and seeks inspiration from photographs published in traditional magazines, newspapers, art history books and social networks; all that he needs is to fall in love with an image, which he then uses almost as an obsession, part of what he will portray. That is why not only one, but two or more portraits are part of his canvases. Like a jigsaw puzzle, he subverts the figures in a kind of collage, in which he overlaps narratives, visual chronicles of everyday life, frames, which purposely resemble unfinished paintings.

With a bachelor’s degree in communication and a master in Visual Languages, Lannes began with abstraction and went on to figuration, with a traditional way of painting. It is a clear course, through which he organized misshapen strokes and layers of paint by overlapping them. The Rio de Janeiro native artist has long been attracted to figurative painting: since his visits to museums as a teenager, he liked to be observed by the figures of those traditional paintings – an ancient technique, already found in the art of ancient Egypt, of portraying the eyes of the figures in such a manner that, when the viewer changes position, there is a sense that they are being followed by those eyes in every corner of the exhibition room. The way that the eyes fixate on our gaze can cause some discomfort. Which is the same as Lannes’ work: disturbing in exploring the human condition in a cynical, provocative and unanswered manner. All you need to do is look.

Works

Daniel Lannes
View all
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