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GESTURE AND SHAPE IN DAURI DIOGO’s WORK OF ART


GESTURE AND SHAPE IN DAURI DIOGO’s WORK OF ART In the exhibition of Shopping Barra, we can see Dauri Diogo’s individual exposition with about thirty oil paintings. Despite of being his second exhibition, this artist showed his deep knowledge of the matter. Starting with shapes that remind of the constructivism, he shows, on a monochromatic background, figures with tones that are the opposite of those that gives support for the drawing, expanding in a multicolored scale, where, at moments, he starts from dark to light, or in reverse, making an interesting game, playing with colors and shapes. His work starts from the principle of knowing human gestures, where he explores the necessity of the knowledge of infinity of space and nonexistence of time. The theme, that dips in a clear attempt to bring back the momentary reflection, is developed with a realistic point of view, but this does not exclude the observer from his own voyage to the mystery of creation. On the contrary, it induces him to a feeling of verse and reverse, established in the confrontation of seeing and being seen. The painted moments reveal the poetry inside the painter’ soul, that Dauri, with his right perception, shows in pairs, by the fruits of his esthetical creation.

Little news has been revealed in the field of plastic arts. So, we can affirm, with propriety, that this painter will certainly have a career in this segment of visual arts. Maybe the opposite occurs, since destiny is not traced by paint and colors that compose its symphony of tones, but depending on his talent, his intuition is defining his way. The exposition can’t be missed.

Aldo Tripodi
Jornal Tribuna da Bahia
Salvador 23-02-92

DAURI DIOGO’s NEO-GEO MONOCHROMATIC ART

Anyone can learn how to paint. But it’s much more difficult to establish a definitive signature. Dauri Diogo is the first artist I know that since the first picture he painted, in 1989, he did it in the same style as today. He makes such a neo-geo monochromatic, which serenity the picture itself takes charge of breaking, seducing the spectator to a psychological arena full of intentions. It is the human being analyzing himself on a divan, meditating or performing, Dauri says and he also affirms, that he has chosen the pyramidal form in this period of his life, because of its superior energy. But it is in its dramatic application of tones and sub-tones of the same color and in a match of light between them, that this energy flows reinforcing the mystical idea that the picture’s gestures determine. The artist is from São Paulo, self-educated, owner of a technical virtuosity that allows him to give shape to light, color and form with innumerable variations of the same idea.

Matilde Matos
Member of “Associação de Críticos de Arte do Brasil”
Member of “Associação de Críticos de Arte Internacional”
Salvador - 1996

GEOMETRISM IN DAURI DIOGO’s WORK

From tomorrow on, Dauri Diogo will be showing his works of art at Galeria Arte Viva. The exposition consists of 22 canvases. Dauri entitled it as “Equilibrium on Divan”. The presentation was done by the Critic of Art Matilde Matos, who says: “... he makes such a neo-geo monochromatic, which serenity the picture itself takes charge of breaking, seducing the spectator to a psychological arena full of intentions...”
The geometrism used by Dauri submits to levels of reflection of the color and the shape. In this case, shape is seen by the color that determines the limits. This linear conjunction that runs into the drawing doesn’t draw its intention, because the drawing, in this case, makes almost no difference to the theme at all. So, the theme is distributed in triangles, repeated in signs, abstracted from the positions of “divan”. In capturing these moments, Dauri did not want to register, but to emphasize human beings expressions, making use of precise scenes, better said accurate scenes, as the artist’s inaccuracy, when he practices the artistic way of seeing things, in order to see beyond the explicit. On the other hand, the precise and well marked configuration is summarized in small parts of the story as a whole. His realistic character does not verify a naturalism, but n intention of these moments having a man as a reference, without defining character, but gesture. The “puppets” suggest some intellectual thoughts, because the artist practices the analysis as a revelation of his painting. Such order is seeing in used colors what brings a clear feeling of lightness at the background that supports the figures and is developed to apply the pictorial acknowledgment as the basis of the painter idea.

Aldo Tripodi
Salvador 15-05-96
Jornal Tribuna da Bahia

THE VARIETY OF ASPECTS IN DAURI DIOGO

Things that are constantly happening with us make me remember of an amorous grandmother of a young painter who was beginning and she, worried about her grandson’ success exclaimed: in a place where there are more painters than civil servants, the success of the painters is very difficult. Because of this, the young painter Dauri Diogo, who paints with a good abstraction, figurative paints and also surrealism, with a good and right composition, gathers everything in the same picture with pleasant results. As a painter and owner of his work, he controls color with much assurance. His pictures offer to the observer a variety of aspects according to the baroque traditions of his city in Bahia, with many and such good painters.

Carlos Eduardo da Rocha
Membro da Associação Brasileira de Críticos de Artes
Salvador 1997

A figura Humana e os elementos geométricos na obra de Dauri Diogo

Dauri Diogo, elege em suas obras os elementos geométricos, repartindo a cena como se estivéssemos vendo através de um caleidoscópio. E é exatamente este efeito, entretanto o que se melhor se depura está no equilíbrio entre a figura e os elementos da geometria eleitos para a composição; aliás perfeita e harmônica.  O mais interessante é como o artista brinca com a figura e predispõem em várias posições.
Contudo não faz uma figura humana em seu sentido literal, mas simbólica. Desta forma opera uma poética particular. Não é a primeira vez que escrevo sobre sua obra. Quando começou a pintar já demonstrava compromisso com a pintura, hoje matura-se, como é natural. Entretanto é preciso deixar claro, para limparmos o terreno em que estamos pisando, que a maturação se dá com artista que tem qualidades. Não é com passar dos anos que o artista “melhora”. Pode ser o contrário. Mas se o que ele faz tem qualidade é como vinho quanto mais velho melhor.
Por outro lado, isto não quer dizer que o que estão “começando” não são merecedores dos elogios da critica de arte. É preciso entender que arte boa e pura, pode ser “nova” ou “velha”. É da leitura da obra, que dela se faz, que se reclama para ela ser ou não obra de arte, pois não é o seu criador que lhe confere status, mas o que dela se extrai.
Dauri Diogo sabe compor sua criação, também é rigoroso no trato da cor, e domínio da técnica. Vem impondo uma identidade em suas obras. Não é um artista de mãos apressadas e de técnicas “alpinistas”. É um pintor que sabe o que é, e para que faz, isto é o que há de melhor em sua carreira.

Aldo Tripodi
Crítico de Arte Mestre em teoria e História da Arte pela EBA/UFBA professor de História da Arte da UNIFACS e professor de Arte-Educação da UNEB.
Apresentação da exposição "2 X 18" ( Dauri Diogo e Fred Shaeppi )
Salvador 2005

A poesia das formas

Dauri Diogo sempre usou das formas geométricas em sua obra, não em seu sentido restrito, formal, apenas usa de elementos para criar sua poética. Nesta mostra que intitula “influências” toma formas e elementos decorativos das fachadas dos prédios do Pelourinho e superpõe em seus elementos geométricos. Criando uma composição harmônica e equilibrada.
Outro fator é a figura humana, também geometrizada que ele sempre coloca em sua obra, uma marca registrada. De igual forma, cores e criação estão perfeitas no conjunto da obra. A figura aparece como se estivesse numa janela. Creio que na verdade o artista provoca uma ruptura no aspecto formal e insere o elemento, como um ato poético, quebrando a rigidez que a forma pode intuir.

Aldo Tripodi
Crítico de Arte
Apresentação da exposição "Influências"
Salvador 2016