I first visited Havana in November 2016, a few days after Fidel Castro died, and just under a year before Hurricane Irma hit Cuba in September 2017. Since then, much has changed, including the hand-painted signs that punctuate the journey from the airport to the city centre, which today do not celebrate the revolution so much as the 'Unidad y...
The exhibition Beyond Boundaries at Somerset House in London (12 March–2 April 2019) marked the historic contributions of the Central Academy of Fine Arts, Beijing (CAFA) and the Slade School of Fine Art, University College London, on the occasion of their 100th and 150th anniversaries, respectively. Spread across several rooms of Somerset House's...
The National 2019: New Australian Art features work by 70 contemporary Australia-based artists split across three venues: the Art Gallery of New South Wales (AGNSW), Carriageworks, and the Museum of Contemporary Art Australia (MCA) (29 March–21 July 2019), as curated by Isobel Parker Philip, curator of photographs at AGNSW; Daniel Mudie Cunningham,...
José Patrício was born in 1960 in Recife, Brazil. He graduated from the Federal University of Pernambuco in 1982. Currently, the artist lives and works in Recife, Brazil.
José Patrício works with everyday readymade objects to create patterns and images, either in an orderly or fairly free manner, but always resulting in both enigmatic and familiar-looking creations. Patrício began to use domino pieces in his works in 1999, and ever since, they have become a key element in several works. Patrício's installation Ars combinatoria (2005) consisted of dominoes that formed a seemingly endless variety of square patterns in vibrant shades of emerald and ocher on the floor of a French abbey. When audiences viewed the installation from afar, the pattern assumed an almost painterly, tonal, overall appearance, which contrasted with the graphism of each individual domino piece. According to the critic Moacir dos Anjos, 'the works express the artist's desire to reconcile the rigour of repetitive and regular form with the randomness that, to a large degree, governs the world.'
Patrício is also influenced by the geometric and concrete art movements in Brazil (heralded by Almir Mavignier). By employing various materials, such as darts, buttons, and nails, the artist abandons the original usage of these materials and reassembles them in a new form that results in unexpected formal compositions. As said by the critic and curator Paulo Sérgio Duarte, Patrício's accumulation procedure places us 'on a different level than the issues set forth by the progress of science and technique in artwork.... As the terrain of combinatorial mathematics is incorporated as a starting point, we are faced with the combination of series, endless in their possibilities. The problem is no longer the reproduction of the same; it is now about producing endless others from the same.'
Selected solo exhibitions include Avulsos (2015), Galeria Nara Roesler, Rio de Janeiro, Brazil; Afinidades Cromáticas (Chromatic Affinities) (2014), Galeria Nara Roesler, São Paulo, Brazil; José Patrício: Os amigos da gravura (Friends of Printmaking project) (2013), Museu da Chácara do Céu, Rio de Janeiro, Brazil; Silvacane Abbey, Aix en Provence, France (2005); Paço das Artes (Palace of Arts), São Paulo, Brazil (2002); Paço Imperial(Imperial Palace), Rio de Janeiro, Brazil; and Galeria Metropolitana Aloísio Magalhães, Recife, Brazil.
Selected group shows include Encruzilhada (Crossroad) (2015), EAV Parque Lage, São Paulo, Brazil; Asas e Raízes (Wings and Roots) (2015), Caixa Cultural, Rio de Janeiro, Brazil; Triangulações (Triangulations) (2013), Museu Nacional do Conjunto Cultural da República, Brasília, Brazil; Ars Combinatória (Combinatorial Art), site-specific installation for Art HK Projects, curated by Yuko Hasegawa, Hong Kong International Art Fair 2012,Hong Kong, China; Art in Brazil (1950–2011) (2011), Palais des Beaux Arts, Brussels, Belgium; and LO[S] CINÉTICO[S] [The Kinetic(s)] (2007), Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain; as well as numerous other exhibitions since 1982.
Patrício's works are in collections such as the Cartier Foundation Collection, Paris, France; Museu de Arte Moderna Aloísio Magalhães, Recife, Brazil; Museu de Arte Contemporânea de Pernambuco, Olinda, Brazil; National Museum of Fine Arts, Rio de Janeiro, Brazil; Museu de Arte de Brasília, Brasília, Brazil; and the Gilberto Chateaubriand Collection/Museum of Modern Art, Rio de Janeiro, Brazil, among others.
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