MARTHA PAGY ART OFFICE
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  • Série das Ardósias, 2012
    Ardósia, plexiglass e cabo de aço
    45 x 30 x 1 cm

  • Paletas, 2014
    Alabastro e ouro
    42 x 44 x 0,8 cm

  • Piercing Trio, 2014
    Alabaster and gold, dated and signed
    A 35 x 18 x 2,3 cm B 28,5 x 19 x 2,3 cm C 35,5 x 19 x 2,3 cm

  • Hot Ice, 2011
    Selenita and gold
    25 x 15 x 10 cm

  • Carvão Branco, 2012
    Selenita and gold, black tourmaline and acrylic base
    22 x 35 x 27 cm

  • Série Cadernos - Sapatos, 2001
    Alabaster, gold and acrylic base
    24,7 x 19,7 x 0,5 cm / acrylic base: 6 cm

  • SOLADO, 2012
    Alabaster (piece sculpted and crafted by hand by the artist)
    45 x 26 x 8 cm

  • PALAVRAS CRUZADAS, 2013
    Alabaster - 24 pieces

  • VOL BOL, 1980/2000
    Photomontage methacrylate, acrylic letters
    Exemplary 5/8
    90 x 60 cm

MARIA-CARMEN PERLINGEIRO
Between Brazil and Switzerland , Maria-Carmen Perlingeiro studied at the School of Fine Arts of the Federal University of Rio de Janeiro , and graduated at the École Supérieure d' Art Visuel in Geneva. Back to Rio de Janeiro in 1977, she teaches silkscreen printing at Parque Lage and opens her own editions workshop, while developing her personal work involving conceptual art and popular culture , sayings and landscape.

In the 80’s she moved to New York: drawing and experiencing clay at the Pratt Institute Already having a work consolidated in two São Paulo Biennials ( eg ”Jogo do Bicho”, 1977) , Maria-Carmen visits the studio of Sergio Camargo and falls for the marble. Since then she became a self-taught sculptor, researcher of mass and light. Dedicated to this solid flesh, reconfiguring bones, shoes, coins, biscuits and other objects that everyday enchants her. But it is in the 90’s that eventually she finds in Tuscany her most privileged means of expression until today – the Alabaster - with which the artist can expand her ways to the environment, integrating the light to the body of this translucent stone. Another ally, the bright gold leaf, makes the marriage of the drawing with the three-dimensionality - the uneven stone surface becomes a paper for the incision of her experienced trait .

Among the many exhibits in Rio de Janeiro, São Paulo, Paris, Geneva and Marrakech, we highlight the individuals at the Centro Cultural Banco do Brazil (Rio de Janeiro , 1999); at the Espace Topographie de l' Art (Paris , 2007); at the Chácara do Céu Museum ("Eclipses" series , Rio de Janeiro , 2007) , and the Pinacoteca Civica (Volterra , 2008). Represented by Galeria Raquel Arnaud since 1994, São Paulo, and by Martha Pagy Escritório de Arte, Rio de janeiro, Perlingeiro presented her work " The Wonderful World of Floating Objects " at the source of San Felice (Volterra , 2005) and at the Paço Imperial (Rio de Janeiro , 2006). There is also space for collective dialogues like "The spirit of our age" (MAM, São Paulo, 2002) or the humorous "The Beauty of Error" (LX Factory , Lisbon , 2009). The landscaping and architectural interventions appear in works such as " Open Heart " (1998), held in the garden of the World Health Organization - WHO , Geneva ; the project winner of the first prize of the international competition for the UNI Dufour in 1996, organized by Bank Darier Hentsch & Cie and the State of Geneva; and also the landscaping design "The Uccello Spears", winner of the "Lausanne Jardins 2000" competition.

The artist is experiencing , in different places , some other stones like the Egyptian alabaster at the Valley of the Kings, the soapstone at Ouro Preto, the brazilian mica and the moonstone of Morocco. In 2012, curated by Cristina Burlamaqui, this latter work was presented in the show " Luz de Pedra" (Museum of Modern Art in Rio de Janeiro ). Her production since the 1980s has been gathered in the book "Maria- Carmen Perlingeiro" , released in 2007 by the Swiss publisher InFolio with texts by Ronaldo Brito and Michel Jakob and designed by Danowski Design.