Dayse Feijó


About the artist:

The language used within the different forms of expression of my work, whether in painting, sculpture or - to some extent - even my approach to video art, is intimately linked, not only to the contexts and influences lived in my native land Brazil, but also to the experiences in my current home located in the Subbetic area of Cordoba, Spain, where "I imbibe many artistic sources". The natural environment of this region, as well, plays a huge role with its great inspirational power.

Drawing and painting have been with me since very early, childhood I would say, and as I have been developing artistically, both in Brazil and later in Spain, other artistic dimensions have been added, such as casting sculpture and carving.
The same applies to my artistic process ‘Evolving" where forms and ideas have become more and more symbolic and at the same time abstract, especially in painting which is the broadest field of my artistic production.

Once the works have tended towards abstraction, they affirmed and expanded the compositional elements of my works towards the use of dots, lines and geometric shapes so that, although the theme may change, this type of language remains.

Pointillism is one of the most used techniques in my paintings. Besides suggesting movement, it also represents this very diverse relationship with my main current theme: Nature, both as a universal concept – Nature per se – and as a dimension somehow tamed by humans. The dots, in some moments, compose forms of geometric division that can resemble agricultural formations, roads and small human settlements but, at the same time, are perceived as dynamic by the eyes of the viewer, thus recreating a mobility effect and, consequently, a transit of the forms broken by “lines paths” that have the role of creating and delimiting spaces.

Obviously, all that is comprised within the sphere of language as a communication proposal, in my view, must – at a certain stage – meet with the spectator through exhibitions and shows. It is in this context that the dialogue between the artist, the work and the public becomes a fundamental and necessary trilogy which further broadens the scope and perspectives of the work itself and the artist.

This necessary dialogue between the artist and the observer ends up providing all the reasons revolving around the technique and theme, justifying the need for each creation.

Contact and interaction with the public have always been a challenge for me, but also an overwhelming source of information that conveys the idea there is still more to my work than I might have envisioned, which represents a great encouragement.

When it comes to the artistic work itself, I try to create an environment where the search for intimacy is a constant trait with the process of technique, structure, composition and forming of the work, both materially and conceptually.

That is, in addition to working with what is supposed to be a classic presence in the "artist's workshop", I also try to experiment with the construction of a dialogue that becomes a fertile ground of changes towards the many possibilities of vision and approach of the work, especially in the confrontation with new materials or "errors" already known.

It is wonderful, in the case of sculptural carving for example, how improvising and adapting culminate in creativity. In this context, the tension in the gaze towards the creative process and the final result evolve towards new possibilities of the matter. Variations and a greater number of sensations that become an object, external to the artist or their own extension.

From this process, I try to experience the stimulus, not only in the idea of contemporary as a language but also in materials. This way, an intensification in the search for innovation in materials where both the idea of contemporaneity in technique as in language come to life and, in my view, they must proceed in parallel.