BEATRIZ MILHAZES

Her use of colour and geometry is mined from place—the botanical gardens and the Tijuca forest near her studio, the surrounding city, its ocean front, and the cultural motifs of Brazil-and from memory. ‘My challenge has always been the same. I’m interested in life and my surroundings, but to make it work as a painting, I do need to think as a geometric and conceptual artist in my studio practice.’ This process culminates in the artist’s patented form of abstraction, which she has termed ‘chromatic free geometry. In the 1980s, she headed a new generation of artists-Geração 80 or 80s Generation-that embraced painting over the conceptual practices of the 1970s. Marked by the seminal exhibition Como vai você geração 80? (How Are You 80s Generation?) in 1984, this return to painting saw a freedom in process, in the studio as a space for action, and in a rich and amalgamated form of Brazilian art making influenced by European Modernism, the Baroque, and the Antropofagia of the late-1920s.

Courtesy Pace Gallery